A Man and His Bot Wrote a Fake 'Queer Eye' Script—and it is Sublime
A Kinder, Gentler Wave of Reality TV Tries a Little Tenderness, For a Change
'Veronica Mars' Offers More Than Nostalgia; She's Always Been a Survivor
Inside the All-Black Writers Room of Netflix's 'Family Reunion'
Now Starring in Children's Cartoons: Authentic Indigenous Characters
Netflix Cuts Controversial Suicide Scene From '13 Reasons Why'
The Most Unintentionally Terrifying Commercials From Your Childhood
Aziz Ansari Aims For Redemption With His New Stand-Up Special, 'Right Now'
It's About Damn Time We Got A Show Like 'A Black Lady Sketch Show'
David Harbour on the 'Stranger Things' Kids, Being Jim Hopper and Missing Barb
Sarah Jessica Parker On 'Divorce,' 'Sex,' And Her Own #MeToo Moments
'Euphoria' Is Great—But It Does A Disservice To Gen Z Teens Too
Player sponsored by
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
}
}
},
"pop_113090": {
"type": "attachments",
"id": "pop_113090",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "113090",
"found": true
},
"parent": 113084,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/queereye4-1562624404-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/queereye4-1562624404-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/queereye4-1562624404-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/queereye4-1562624404.jpg",
"width": 1500,
"height": 1000
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/queereye4-1562624404-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/queereye4-1562624404-1200x800.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 800
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/queereye4-1562624404-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/queereye4-1562624404-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1564515599,
"modified": 1564516165,
"caption": "The Fab 5, who shall henceforth be known as (l-r): Builder of Every Structure on Earth, Bride of Grooming, Culture Daddy, Groceries Professor and the CEO of Shirts.",
"description": "The Fab 5, who shall henceforth be known as (l-r): Builder of Every Structure on Earth, Bride of Grooming, Culture Daddy, Groceries Professor and the CEO of Shirts.",
"title": "The Fab 5, who shall henceforth be known as (l-r): Builder of Every Structure on Earth, Bride of Grooming, Culture Daddy, Groceries Professor and the CEO of Shirts.",
"credit": "Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_113027": {
"type": "attachments",
"id": "pop_113027",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "113027",
"found": true
},
"parent": 113026,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/queereye_season4_episode1_00_38_17_16_wide-c0c4667d4357aa275686c6d74e6af514eb21ccfc-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/queereye_season4_episode1_00_38_17_16_wide-c0c4667d4357aa275686c6d74e6af514eb21ccfc-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/queereye_season4_episode1_00_38_17_16_wide-c0c4667d4357aa275686c6d74e6af514eb21ccfc-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/queereye_season4_episode1_00_38_17_16_wide-c0c4667d4357aa275686c6d74e6af514eb21ccfc.jpg",
"width": 1917,
"height": 1078
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/queereye_season4_episode1_00_38_17_16_wide-c0c4667d4357aa275686c6d74e6af514eb21ccfc-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/queereye_season4_episode1_00_38_17_16_wide-c0c4667d4357aa275686c6d74e6af514eb21ccfc-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/queereye_season4_episode1_00_38_17_16_wide-c0c4667d4357aa275686c6d74e6af514eb21ccfc-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/queereye_season4_episode1_00_38_17_16_wide-c0c4667d4357aa275686c6d74e6af514eb21ccfc-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1564202577,
"modified": 1564203044,
"caption": "Jonathan Van Ness embraces a participant on Season 4 of 'Queer Eye'. Following the success of the reboot, Netflix has made kindness a key element of its unscripted and competition programming.",
"description": "Jonathan Van Ness embraces a participant on Season 4 of 'Queer Eye'. Following the success of the reboot, Netflix has made kindness a key element of its unscripted and competition programming.",
"title": "Jonathan Van Ness embraces a participant on Season 4 of 'Queer Eye'. Following the success of the reboot, Netflix has made kindness a key element of its unscripted and competition programming.",
"credit": "Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_112910": {
"type": "attachments",
"id": "pop_112910",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "112910",
"found": true
},
"parent": 112909,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/vmars_101_md_4225r_wide-7747884a1a6327d60c441085c75c7d8f3020edc3-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/vmars_101_md_4225r_wide-7747884a1a6327d60c441085c75c7d8f3020edc3-160x90.png",
"width": 160,
"mimeType": "image/png",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/vmars_101_md_4225r_wide-7747884a1a6327d60c441085c75c7d8f3020edc3-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/vmars_101_md_4225r_wide-7747884a1a6327d60c441085c75c7d8f3020edc3.png",
"width": 1564,
"height": 880
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/vmars_101_md_4225r_wide-7747884a1a6327d60c441085c75c7d8f3020edc3-1020x574.png",
"width": 1020,
"mimeType": "image/png",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/vmars_101_md_4225r_wide-7747884a1a6327d60c441085c75c7d8f3020edc3-1200x675.png",
"width": 1200,
"mimeType": "image/png",
"height": 675
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/vmars_101_md_4225r_wide-7747884a1a6327d60c441085c75c7d8f3020edc3-800x450.png",
"width": 800,
"mimeType": "image/png",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/vmars_101_md_4225r_wide-7747884a1a6327d60c441085c75c7d8f3020edc3-768x432.png",
"width": 768,
"mimeType": "image/png",
"height": 432
}
},
"publishDate": 1563836547,
"modified": 1563837225,
"caption": "Kristen Bell is back as the wry title detective in Hulu's new season of 'Veronica Mars.'",
"description": "Kristen Bell is back as the wry title detective in Hulu's new season of 'Veronica Mars.'",
"title": "Kristen Bell is back as the wry title detective in Hulu's new season of Veronica Mars.",
"credit": "Hulu",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_112890": {
"type": "attachments",
"id": "pop_112890",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "112890",
"found": true
},
"parent": 112889,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/familyreunion_003_slide-2f2dfd1aaf7fb66b15fa607597e4540b886b8767-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/familyreunion_003_slide-2f2dfd1aaf7fb66b15fa607597e4540b886b8767-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/familyreunion_003_slide-2f2dfd1aaf7fb66b15fa607597e4540b886b8767-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/familyreunion_003_slide-2f2dfd1aaf7fb66b15fa607597e4540b886b8767.jpg",
"width": 2048,
"height": 1365
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/familyreunion_003_slide-2f2dfd1aaf7fb66b15fa607597e4540b886b8767-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/familyreunion_003_slide-2f2dfd1aaf7fb66b15fa607597e4540b886b8767-1200x800.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 800
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/familyreunion_003_slide-2f2dfd1aaf7fb66b15fa607597e4540b886b8767-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/familyreunion_003_slide-2f2dfd1aaf7fb66b15fa607597e4540b886b8767-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/familyreunion_003_slide-2f2dfd1aaf7fb66b15fa607597e4540b886b8767-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1563817141,
"modified": 1563817993,
"caption": "Tia Mowry-Hardrict plays a mother of four moving to Georgia to be closer to her in-laws in 'Family Reunion.'",
"description": "Tia Mowry-Hardrict plays a mother of four moving to Georgia to be closer to her in-laws in 'Family Reunion.'",
"title": "Tia Mowry-Hardrict plays a mother of four moving to Georgia to be closer to her in-laws in 'Family Reunion.'",
"credit": "John P. Fleenor/Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_112863": {
"type": "attachments",
"id": "pop_112863",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "112863",
"found": true
},
"parent": 112859,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/ob_dfb7d6_ybvujyjq-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/ob_dfb7d6_ybvujyjq-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/ob_dfb7d6_ybvujyjq-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/ob_dfb7d6_ybvujyjq.jpg",
"width": 1200,
"height": 675
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/ob_dfb7d6_ybvujyjq-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/ob_dfb7d6_ybvujyjq-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/ob_dfb7d6_ybvujyjq-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/ob_dfb7d6_ybvujyjq-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1563400790,
"modified": 1563400858,
"caption": "The cast of characters from 'Victor & Valentino'.",
"description": "The cast of characters from 'Victor & Valentino'.",
"title": "The cast of characters from 'Victor & Valentino'.",
"credit": "Cartoon Network",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_112831": {
"type": "attachments",
"id": "pop_112831",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "112831",
"found": true
},
"parent": 112827,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/Muse5-3.1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/Muse5-3.1-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/Muse5-3.1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/Muse5-3.1.jpg",
"width": 1620,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/Muse5-3.1-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/Muse5-3.1-1200x800.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 800
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/Muse5-3.1-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/Muse5-3.1-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1563306261,
"modified": 1563306357,
"caption": "Hannah Baker (played by Katherine Langford) in '13 Reasons Why.'",
"description": "Hannah Baker (played by Katherine Langford) in '13 Reasons Why.'",
"title": "Hannah Baker (played by Katherine Langford) in '13 Reasons Why.'",
"credit": "Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_112471": {
"type": "attachments",
"id": "pop_112471",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "112471",
"found": true
},
"parent": 112467,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/06/maxresdefault-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/06/maxresdefault-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/06/maxresdefault-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/06/maxresdefault.jpg",
"width": 1280,
"height": 720
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/06/maxresdefault-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/06/maxresdefault-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/06/maxresdefault-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/06/maxresdefault-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1560987938,
"modified": 1560988031,
"caption": "Fruit Gushers: A Violet Beauregardean nightmare unfurled.",
"description": "Fruit Gushers: A Violet Beauregardean nightmare unfurled.",
"title": "Fruit Gushers: A Violet Beauregardean nightmare unfurled.",
"credit": "YouTube/ @FunnyCommercials",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_112732": {
"type": "attachments",
"id": "pop_112732",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "112732",
"found": true
},
"parent": 112725,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/aziz-ansari-right-now-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/aziz-ansari-right-now-160x104.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 104
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/aziz-ansari-right-now-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/aziz-ansari-right-now.jpg",
"width": 1455,
"height": 949
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/aziz-ansari-right-now-1020x665.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 665
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/aziz-ansari-right-now-1200x783.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 783
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/aziz-ansari-right-now-800x522.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 522
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/aziz-ansari-right-now-768x501.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 501
}
},
"publishDate": 1562713016,
"modified": 1562713044,
"caption": null,
"description": null,
"title": "aziz-ansari-right-now",
"credit": "Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_112700": {
"type": "attachments",
"id": "pop_112700",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "112700",
"found": true
},
"parent": 112690,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-08-at-1.13.05-PM-160x90.png",
"width": 160,
"mimeType": "image/png",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-08-at-1.13.05-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-08-at-1.13.05-PM.png",
"width": 1000,
"height": 562
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-08-at-1.13.05-PM-800x450.png",
"width": 800,
"mimeType": "image/png",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-08-at-1.13.05-PM-768x432.png",
"width": 768,
"mimeType": "image/png",
"height": 432
}
},
"publishDate": 1562616865,
"modified": 1562616945,
"caption": null,
"description": null,
"title": "A Black Lady Sketch Show",
"credit": "HBO",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_112682": {
"type": "attachments",
"id": "pop_112682",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "112682",
"found": true
},
"parent": 112681,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/h5_promo_stills_022519.0053_r_custom-8be564ee3ac324362293aaa99d3273611ab85910-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/h5_promo_stills_022519.0053_r_custom-8be564ee3ac324362293aaa99d3273611ab85910-160x80.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 80
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/h5_promo_stills_022519.0053_r_custom-8be564ee3ac324362293aaa99d3273611ab85910-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/h5_promo_stills_022519.0053_r_custom-8be564ee3ac324362293aaa99d3273611ab85910.jpg",
"width": 2048,
"height": 1022
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/h5_promo_stills_022519.0053_r_custom-8be564ee3ac324362293aaa99d3273611ab85910-1020x509.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 509
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/h5_promo_stills_022519.0053_r_custom-8be564ee3ac324362293aaa99d3273611ab85910-1200x599.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 599
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/h5_promo_stills_022519.0053_r_custom-8be564ee3ac324362293aaa99d3273611ab85910-1920x958.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 958
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/h5_promo_stills_022519.0053_r_custom-8be564ee3ac324362293aaa99d3273611ab85910-800x399.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 399
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/h5_promo_stills_022519.0053_r_custom-8be564ee3ac324362293aaa99d3273611ab85910-768x383.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 383
}
},
"publishDate": 1562609195,
"modified": 1562609585,
"caption": "\"We're all a bit of a mess ...\" says David Harbour. \"I've always wanted to portray that.\" Harbour plays the cantankerous police chief Jim Hopper on the Netflix series Stranger Things. It returns for its third season on July 4.",
"description": "\"We're all a bit of a mess ...\" says David Harbour. \"I've always wanted to portray that.\" Harbour plays the cantankerous police chief Jim Hopper on the Netflix series\u003cem> Stranger Things. \u003c/em>It returns for its third season on July 4",
"title": "\"We're all a bit of a mess ...\" says David Harbour. \"I've always wanted to portray that.\" Harbour plays the cantankerous police chief Jim Hopper on the Netflix series Stranger Things. It returns for its third season on July 4.",
"credit": "Courtesy of Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_112654": {
"type": "attachments",
"id": "pop_112654",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "112654",
"found": true
},
"parent": 112650,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/cq5dam.web_.1200.675-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/cq5dam.web_.1200.675-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/cq5dam.web_.1200.675-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/cq5dam.web_.1200.675.jpg",
"width": 1200,
"height": 675
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/cq5dam.web_.1200.675-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/cq5dam.web_.1200.675-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/cq5dam.web_.1200.675-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/07/cq5dam.web_.1200.675-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1562181827,
"modified": 1562181927,
"caption": "Sarah Jessica Parker returns as Frances in the third and final season of 'Divorce.'",
"description": "Sarah Jessica Parker returns as Frances in the third and final season of 'Divorce.'",
"title": "Sarah Jessica Parker returns as Frances in the third and final season of 'Divorce.'",
"credit": "'Divorce'/HBO",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_112410": {
"type": "attachments",
"id": "pop_112410",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "112410",
"found": true
},
"parent": 112407,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/06/vwhfdz6nbdbpyicwzc4v-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/06/vwhfdz6nbdbpyicwzc4v-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/06/vwhfdz6nbdbpyicwzc4v-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/06/vwhfdz6nbdbpyicwzc4v.jpg",
"width": 1600,
"height": 900
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/06/vwhfdz6nbdbpyicwzc4v-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/06/vwhfdz6nbdbpyicwzc4v-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/06/vwhfdz6nbdbpyicwzc4v-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2019/06/vwhfdz6nbdbpyicwzc4v-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1560803805,
"modified": 1560803874,
"caption": "Zendaya stars as Rue, a drug-addicted teen, in new HBO show 'Euphoria.'",
"description": "Zendaya stars as Rue, a drug-addicted teen, in new HBO show 'Euphoria.'",
"title": "Zendaya stars as Rue, a drug-addicted teen, in new HBO show 'Euphoria.'",
"credit": "HBO",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_pop_113026": {
"type": "authors",
"id": "byline_pop_113026",
"meta": {
"override": true
},
"slug": "byline_pop_113026",
"name": "Neda Ulaby",
"isLoading": false
},
"byline_pop_112909": {
"type": "authors",
"id": "byline_pop_112909",
"meta": {
"override": true
},
"slug": "byline_pop_112909",
"name": "David Bianculli",
"isLoading": false
},
"byline_pop_112889": {
"type": "authors",
"id": "byline_pop_112889",
"meta": {
"override": true
},
"slug": "byline_pop_112889",
"name": "Lulu Garcia-Navarro",
"isLoading": false
},
"byline_pop_112859": {
"type": "authors",
"id": "byline_pop_112859",
"meta": {
"override": true
},
"slug": "byline_pop_112859",
"name": "Mandalit del Barco",
"isLoading": false
},
"byline_pop_112827": {
"type": "authors",
"id": "byline_pop_112827",
"meta": {
"override": true
},
"slug": "byline_pop_112827",
"name": "Merrit Kennedy",
"isLoading": false
},
"byline_pop_112681": {
"type": "authors",
"id": "byline_pop_112681",
"meta": {
"override": true
},
"slug": "byline_pop_112681",
"name": "Madeline Ducharme",
"isLoading": false
},
"byline_pop_112650": {
"type": "authors",
"id": "byline_pop_112650",
"meta": {
"override": true
},
"slug": "byline_pop_112650",
"name": "Terry Gross",
"isLoading": false
},
"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": [
"arts"
],
"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": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
}
},
"pagesReducer": {
"pop_category_tv": {
"type": "terms",
"id": "pop_3",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3",
"score": 12.667329
},
"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": 3,
"slug": "tv",
"isLoading": false,
"title": "TV",
"pageMeta": {
"site": "pop",
"WpPageTemplate": "page-topic-editorial"
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/pop?category=tv",
"seeMore": true,
"paginated": false,
"page": 1
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"pop_113084": {
"type": "posts",
"id": "pop_113084",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "113084",
"score": null,
"sort": [
1564522817000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1564522817,
"format": "standard",
"disqusTitle": "A Man and His Bot Wrote a Fake 'Queer Eye' Script—and it is Sublime",
"title": "A Man and His Bot Wrote a Fake 'Queer Eye' Script—and it is Sublime",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\"I forced a bot to watch over 1,000 hours of \u003cem>Queer Eye\u003c/em> and then asked it to write an episode of \u003cem>Queer Eye\u003c/em> of its own,\" the tweet read. Despite the fact that it is almost certainly a false claim—there are only 33 episodes and a handful of extras, after all—\u003ca href=\"https://twitter.com/KeatonPatti\">Keaton Patti'\u003c/a>s subsequent \u003cem>Queer Eye\u003c/em> bot-script has been liked on Twitter almost 100,000 times and even prompted a response from Netflix. Why?\u003c/p>\n\u003cp>Because it's sublime, that's why.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-113087\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.26-AM-800x447.png\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.26-AM-800x447.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.26-AM-160x89.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.26-AM-768x429.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.26-AM.png 833w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-113088\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.46-AM-800x453.png\" alt=\"\" width=\"800\" height=\"453\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.46-AM-800x453.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.46-AM-160x91.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.46-AM-768x435.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.46-AM.png 819w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The joy prompted by this surreal but incredibly accurate nonsense might be even greater than that of Ms. Dooley's students after Jonathan Van Ness cut off her mullet in the first episode of Season 4. Some of these phrases are so magnificent, one can only hope that they one day make it into the permanent \u003cem>Queer Eye\u003c/em> lexicon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/suzewrites/status/1156054085801402368\u003c/p>\n\u003cp>https://twitter.com/redshoe9/status/1155851454068006912?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1155851454068006912&ref_url=https%3A%2F%2Fwww.pettymayonnaise.com%2Fa-bot-watched-queer-eye-then-wrote-its-own-script-for-the-show%2F\u003c/p>\n\u003cp>https://twitter.com/Amester222/status/1155863156708659200\u003c/p>\n\u003cp>https://twitter.com/CougarWilliams/status/1155849251999686656\u003c/p>\n\u003cp>https://twitter.com/siggiarabi/status/1155849255552245761\u003c/p>\n\u003cp>https://twitter.com/gregindeed/status/1155862048892260353\u003c/p>\n\u003cp>https://twitter.com/NetflixANZ/status/1156156712329478145\u003c/p>\n\u003cp>Keaton Patti's bot also wrote a script last year for a remarkable and thoroughly \u003ca href=\"https://twitter.com/KeatonPatti/status/1006961202998726665\">existential Olive Garden commercial\u003c/a>. That, too, went viral thanks to phrases like: “We see the pasta nachos. They’re warm and defeated,” “Friend 4 smiles wide. Her mouth is full of secret soup,” and “We see the unlimited stick. It is infinite. It is all.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Patti has written for \u003cem>The New Yorker\u003c/em>, Marvel, Comedy Central and \u003cem>The Onion\u003c/em>. Someone at Adult Swim should probably give him a full-time job immediately.\u003c/p>\n\n",
"disqusIdentifier": "113084 https://ww2.kqed.org/pop/?p=113084",
"disqusUrl": "https://ww2.kqed.org/pop/2019/07/30/a-man-and-his-bot-wrote-a-fake-queer-eye-script-and-it-is-sublime/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 314,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1564526011,
"excerpt": "Open your heart's mancave, caveman, for there is apathetic maple syrup in this script and that makes it a must-read.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Open your heart's mancave, caveman, for there is apathetic maple syrup in this script and that makes it a must-read.",
"title": "A Man and His Bot Wrote a Fake 'Queer Eye' Script—and it is Sublime | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Man and His Bot Wrote a Fake 'Queer Eye' Script—and it is Sublime",
"datePublished": "2019-07-30T14:40:17-07:00",
"dateModified": "2019-07-30T15:33:31-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-man-and-his-bot-wrote-a-fake-queer-eye-script-and-it-is-sublime",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"path": "/pop/113084/a-man-and-his-bot-wrote-a-fake-queer-eye-script-and-it-is-sublime",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\"I forced a bot to watch over 1,000 hours of \u003cem>Queer Eye\u003c/em> and then asked it to write an episode of \u003cem>Queer Eye\u003c/em> of its own,\" the tweet read. Despite the fact that it is almost certainly a false claim—there are only 33 episodes and a handful of extras, after all—\u003ca href=\"https://twitter.com/KeatonPatti\">Keaton Patti'\u003c/a>s subsequent \u003cem>Queer Eye\u003c/em> bot-script has been liked on Twitter almost 100,000 times and even prompted a response from Netflix. Why?\u003c/p>\n\u003cp>Because it's sublime, that's why.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-113087\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.26-AM-800x447.png\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.26-AM-800x447.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.26-AM-160x89.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.26-AM-768x429.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.26-AM.png 833w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-113088\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.46-AM-800x453.png\" alt=\"\" width=\"800\" height=\"453\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.46-AM-800x453.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.46-AM-160x91.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.46-AM-768x435.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/Screen-Shot-2019-07-30-at-11.44.46-AM.png 819w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The joy prompted by this surreal but incredibly accurate nonsense might be even greater than that of Ms. Dooley's students after Jonathan Van Ness cut off her mullet in the first episode of Season 4. Some of these phrases are so magnificent, one can only hope that they one day make it into the permanent \u003cem>Queer Eye\u003c/em> lexicon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1156054085801402368"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1155851454068006912"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1155863156708659200"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1155849251999686656"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1155849255552245761"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1155862048892260353"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1156156712329478145"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Keaton Patti's bot also wrote a script last year for a remarkable and thoroughly \u003ca href=\"https://twitter.com/KeatonPatti/status/1006961202998726665\">existential Olive Garden commercial\u003c/a>. That, too, went viral thanks to phrases like: “We see the pasta nachos. They’re warm and defeated,” “Friend 4 smiles wide. Her mouth is full of secret soup,” and “We see the unlimited stick. It is infinite. It is all.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Patti has written for \u003cem>The New Yorker\u003c/em>, Marvel, Comedy Central and \u003cem>The Onion\u003c/em>. Someone at Adult Swim should probably give him a full-time job immediately.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/113084/a-man-and-his-bot-wrote-a-fake-queer-eye-script-and-it-is-sublime",
"authors": [
"11242"
],
"categories": [
"pop_5",
"pop_3"
],
"tags": [
"pop_3686",
"pop_3807",
"pop_3341",
"pop_3177",
"pop_3808",
"pop_438",
"pop_3147",
"pop_3681",
"pop_245"
],
"featImg": "pop_113090",
"label": "pop"
},
"pop_113026": {
"type": "posts",
"id": "pop_113026",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "113026",
"score": null,
"sort": [
1564297324000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1564297324,
"format": "standard",
"disqusTitle": "A Kinder, Gentler Wave of Reality TV Tries a Little Tenderness, For a Change",
"title": "A Kinder, Gentler Wave of Reality TV Tries a Little Tenderness, For a Change",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>It's a genre known for screaming matches, hot-tub hookups and contestants who are there \u003cem>to win,\u003c/em> \u003cem>not\u003c/em> \u003cem>to make friends\u003c/em>. But as of late, reality television has taken a kinder, gentler turn.\u003c/p>\n\u003cp>Fire up Netflix and you'll see sweet-natured shows such as \u003cem>Queer Eye\u003c/em>, which kicked off its fourth season with a public school teacher getting an enthusiastic makeover, and a slew of food programs where people are lovely to each other. Think \u003cem>The Great British Baking Show\u003c/em>, \u003cem>Sugar Rush\u003c/em>, \u003cem>Street Food\u003c/em> and \u003cem>Nailed It!\u003c/em>, where contestants giggle with the hosts about their haplessness in decorating cakes.\u003c/p>\n\u003cp>Netflix's dating show, \u003cem>Dating Around\u003c/em>, is practically humiliation-free. And in the hit series \u003cem>Tidying Up with Marie Kondo\u003c/em>, \u003ca href=\"https://www.npr.org/2016/01/07/462230434/japanese-organizing-consultant-marie-kondo-takes-america-by-storm\">the Japanese organizing guru\u003c/a> gently guides Americans into discarding stuff that doesn't \"spark joy.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WvyeapVBLWY\u003c/p>\n\u003cp>\"We say 'spark joy' now for everything,\" says Brandon Riegg, the Netflix vice president in charge of unscripted series.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Riegg says Netflix has made heartwarming reality shows central to its brand, though that wasn't always the plan. The success of \u003cem>Queer Eye\u003c/em> and \u003cem>Nailed It! \u003c/em>convinced Netflix to double down on reality shows featuring people being kind to each other, he says. (Of course, because Netflix does not release audience numbers, we don't precisely know how successful those shows are.)\u003c/p>\n\u003cp>\"In the beginning, it wasn't an intentional strategy,\" Riegg says. \"When we decided to get into original unscripted programming, it was really a blank slate.\"\u003c/p>\n\u003cp>It should be noted that not all of Netflix's reality programming can be described as sweet. Its game show \u003cem>Flinch\u003c/em> doesn't disguise its nasty streak, and Netflix recently took heat over its upcoming \u003cem>Prank\u003c/em> \u003cem>Encounters\u003c/em>, where people working in short-term jobs are subject to hidden-camera pranks. (Netflix says the show, hosted by a teenage star of the sci-fi hit series \u003cem>Stranger Things\u003c/em>, is \"spooky, supernatural and over-the-top, and everyone had a great time.\")\u003c/p>\n\u003cp>Still, the burgeoning trend of positive reality programming has spread across the industry, according to Riegg.\u003c/p>\n\u003cp>\"Everyone's noticing that viewers are more drawn to that, that there's an appetite for that,\" he says, pointing to Fox's \u003cem>The Masked Singer\u003c/em> and NBC's \u003cem>Songland\u003c/em>. NBC is also the home of the notoriously nice crafting show \u003cem>Making It\u003c/em>, and the network may have helped to start this trend years ago, with weight-loss program \u003cem>The Biggest Loser\u003c/em>, along with ABC's \u003cem>Extreme Makeover: Home Edition \u003c/em>(which Riegg helped to develop).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pOi9OmdoxQs\u003c/p>\n\u003cp>\"As a critic and fan of reality TV, I love it,\" says Andy Dehnart, creator of the website \u003ca href=\"https://www.realityblurred.com/realitytv/\">Reality Blurred\u003c/a>. \"It makes it a lot easier to watch, to write about and just enjoy.\"\u003c/p>\n\u003cp>Dehnart points out these shows appeal to advertisers and to families looking for shows to watch together. Sunny reality shows may provide something of a counterbalance to the deeply dark scripted shows dominating TV of late: \u003cem>The Walking Dead\u003c/em>, \u003cem>Game of Thrones\u003c/em>, \u003cem>Chernobyl\u003c/em>, \u003cem>The Handmaid's Tale\u003c/em>, \u003cem>Killing Eve\u003c/em>, \u003cem>Ozark\u003c/em>, \u003cem>Better Call Saul\u003c/em>, \u003cem>Succession\u003c/em> and so on.\u003c/p>\n\u003cp>Of late, reality shows are providing a much-needed break from people being rotten to each other, says Tara Long, president of unscripted TV for Entertainment One, which produces such reality shows as \u003cem>Growing Up Hip Hop\u003c/em>, \u003cem>LadyGang\u003c/em> and \u003cem>Siesta Key\u003c/em>.\u003c/p>\n\u003cp>\"We actually have production meetings where we say we don't want fighting,\" she says. It's a profound shift from the days when the genre relied on people flipping tables for drama. \"Ten years ago, you'd need that in every episode to build up to your final act.\"\u003c/p>\n\u003cp>I asked Long if people who make reality television might be trying to change the cultural conversation after 20 years of toxic reality shows that helped—in part—elect \u003ca href=\"https://www.npr.org/2017/02/03/513194862/with-conflict-and-drama-trump-hooks-you-like-a-reality-tv-show\">a former reality show star\u003c/a> to the U.S. presidency.\u003c/p>\n\u003cp>\"A hundred percent,\" she says, without hesitation. \"I think we want to create this content and tell these stories to kind of course-correct for some of the type of shows that have been done in the past.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a moment when the tone of public discourse feels so lowered, Long says, maybe now is the time for reality television—yes, reality television—to push for civility and respect.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Kinder%2C+Gentler+Wave+Of+Reality+TV+Tries+A+Little+Tenderness%2C+For+A+Change&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"disqusIdentifier": "113026 https://ww2.kqed.org/pop/?p=113026",
"disqusUrl": "https://ww2.kqed.org/pop/2019/07/28/a-kinder-gentler-wave-of-reality-tv-tries-a-little-tenderness-for-a-change/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 733,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1564203184,
"excerpt": "It's a genre historically known for screaming matches and backstabbing competition. But lately, the shows at its forefront—say, 'Queer Eye' or 'Marie Kondo'—feature a lot more generosity of spirit.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "It's a genre historically known for screaming matches and backstabbing competition. But lately, the shows at its forefront—say, 'Queer Eye' or 'Marie Kondo'—feature a lot more generosity of spirit.",
"title": "A Kinder, Gentler Wave of Reality TV Tries a Little Tenderness, For a Change | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Kinder, Gentler Wave of Reality TV Tries a Little Tenderness, For a Change",
"datePublished": "2019-07-28T00:02:04-07:00",
"dateModified": "2019-07-26T21:53:04-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-kinder-gentler-wave-of-reality-tv-tries-a-little-tenderness-for-a-change",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=744881124&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Neda Ulaby",
"nprStoryDate": "Fri, 26 Jul 2019 12:00:00 -0400",
"nprLastModifiedDate": "Fri, 26 Jul 2019 17:13:23 -0400",
"nprHtmlLink": "https://www.npr.org/2019/07/26/744881124/a-kinder-gentler-wave-of-reality-tv-tries-a-little-tenderness-for-a-change?ft=nprml&f=744881124",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/07/20190726_atc_a_kinder_gentler_wave_of_reality_tv_tries_a_little_tenderness_for_a_change.mp3?orgId=1&topicId=1138&d=208&p=2&story=744881124&ft=nprml&f=744881124",
"audioTrackLength": 208,
"nprImageAgency": "Netflix",
"nprAudioM3u": "http://api.npr.org/m3u/1745731923-fa9c87.m3u?orgId=1&topicId=1138&d=208&p=2&story=744881124&ft=nprml&f=744881124",
"nprStoryId": "744881124",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 26 Jul 2019 19:52:00 -0400",
"path": "/pop/113026/a-kinder-gentler-wave-of-reality-tv-tries-a-little-tenderness-for-a-change",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/07/20190726_atc_a_kinder_gentler_wave_of_reality_tv_tries_a_little_tenderness_for_a_change.mp3?orgId=1&topicId=1138&d=208&p=2&story=744881124&ft=nprml&f=744881124",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's a genre known for screaming matches, hot-tub hookups and contestants who are there \u003cem>to win,\u003c/em> \u003cem>not\u003c/em> \u003cem>to make friends\u003c/em>. But as of late, reality television has taken a kinder, gentler turn.\u003c/p>\n\u003cp>Fire up Netflix and you'll see sweet-natured shows such as \u003cem>Queer Eye\u003c/em>, which kicked off its fourth season with a public school teacher getting an enthusiastic makeover, and a slew of food programs where people are lovely to each other. Think \u003cem>The Great British Baking Show\u003c/em>, \u003cem>Sugar Rush\u003c/em>, \u003cem>Street Food\u003c/em> and \u003cem>Nailed It!\u003c/em>, where contestants giggle with the hosts about their haplessness in decorating cakes.\u003c/p>\n\u003cp>Netflix's dating show, \u003cem>Dating Around\u003c/em>, is practically humiliation-free. And in the hit series \u003cem>Tidying Up with Marie Kondo\u003c/em>, \u003ca href=\"https://www.npr.org/2016/01/07/462230434/japanese-organizing-consultant-marie-kondo-takes-america-by-storm\">the Japanese organizing guru\u003c/a> gently guides Americans into discarding stuff that doesn't \"spark joy.\"\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/WvyeapVBLWY'\n title='//www.youtube.com/embed/WvyeapVBLWY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"We say 'spark joy' now for everything,\" says Brandon Riegg, the Netflix vice president in charge of unscripted series.\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>Riegg says Netflix has made heartwarming reality shows central to its brand, though that wasn't always the plan. The success of \u003cem>Queer Eye\u003c/em> and \u003cem>Nailed It! \u003c/em>convinced Netflix to double down on reality shows featuring people being kind to each other, he says. (Of course, because Netflix does not release audience numbers, we don't precisely know how successful those shows are.)\u003c/p>\n\u003cp>\"In the beginning, it wasn't an intentional strategy,\" Riegg says. \"When we decided to get into original unscripted programming, it was really a blank slate.\"\u003c/p>\n\u003cp>It should be noted that not all of Netflix's reality programming can be described as sweet. Its game show \u003cem>Flinch\u003c/em> doesn't disguise its nasty streak, and Netflix recently took heat over its upcoming \u003cem>Prank\u003c/em> \u003cem>Encounters\u003c/em>, where people working in short-term jobs are subject to hidden-camera pranks. (Netflix says the show, hosted by a teenage star of the sci-fi hit series \u003cem>Stranger Things\u003c/em>, is \"spooky, supernatural and over-the-top, and everyone had a great time.\")\u003c/p>\n\u003cp>Still, the burgeoning trend of positive reality programming has spread across the industry, according to Riegg.\u003c/p>\n\u003cp>\"Everyone's noticing that viewers are more drawn to that, that there's an appetite for that,\" he says, pointing to Fox's \u003cem>The Masked Singer\u003c/em> and NBC's \u003cem>Songland\u003c/em>. NBC is also the home of the notoriously nice crafting show \u003cem>Making It\u003c/em>, and the network may have helped to start this trend years ago, with weight-loss program \u003cem>The Biggest Loser\u003c/em>, along with ABC's \u003cem>Extreme Makeover: Home Edition \u003c/em>(which Riegg helped to develop).\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/pOi9OmdoxQs'\n title='//www.youtube.com/embed/pOi9OmdoxQs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"As a critic and fan of reality TV, I love it,\" says Andy Dehnart, creator of the website \u003ca href=\"https://www.realityblurred.com/realitytv/\">Reality Blurred\u003c/a>. \"It makes it a lot easier to watch, to write about and just enjoy.\"\u003c/p>\n\u003cp>Dehnart points out these shows appeal to advertisers and to families looking for shows to watch together. Sunny reality shows may provide something of a counterbalance to the deeply dark scripted shows dominating TV of late: \u003cem>The Walking Dead\u003c/em>, \u003cem>Game of Thrones\u003c/em>, \u003cem>Chernobyl\u003c/em>, \u003cem>The Handmaid's Tale\u003c/em>, \u003cem>Killing Eve\u003c/em>, \u003cem>Ozark\u003c/em>, \u003cem>Better Call Saul\u003c/em>, \u003cem>Succession\u003c/em> and so on.\u003c/p>\n\u003cp>Of late, reality shows are providing a much-needed break from people being rotten to each other, says Tara Long, president of unscripted TV for Entertainment One, which produces such reality shows as \u003cem>Growing Up Hip Hop\u003c/em>, \u003cem>LadyGang\u003c/em> and \u003cem>Siesta Key\u003c/em>.\u003c/p>\n\u003cp>\"We actually have production meetings where we say we don't want fighting,\" she says. It's a profound shift from the days when the genre relied on people flipping tables for drama. \"Ten years ago, you'd need that in every episode to build up to your final act.\"\u003c/p>\n\u003cp>I asked Long if people who make reality television might be trying to change the cultural conversation after 20 years of toxic reality shows that helped—in part—elect \u003ca href=\"https://www.npr.org/2017/02/03/513194862/with-conflict-and-drama-trump-hooks-you-like-a-reality-tv-show\">a former reality show star\u003c/a> to the U.S. presidency.\u003c/p>\n\u003cp>\"A hundred percent,\" she says, without hesitation. \"I think we want to create this content and tell these stories to kind of course-correct for some of the type of shows that have been done in the past.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a moment when the tone of public discourse feels so lowered, Long says, maybe now is the time for reality television—yes, reality television—to push for civility and respect.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Kinder%2C+Gentler+Wave+Of+Reality+TV+Tries+A+Little+Tenderness%2C+For+A+Change&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/113026/a-kinder-gentler-wave-of-reality-tv-tries-a-little-tenderness-for-a-change",
"authors": [
"byline_pop_113026"
],
"categories": [
"pop_3"
],
"tags": [
"pop_3795",
"pop_3796",
"pop_88",
"pop_438",
"pop_3147",
"pop_54",
"pop_280"
],
"featImg": "pop_113027",
"label": "pop"
},
"pop_112909": {
"type": "posts",
"id": "pop_112909",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "112909",
"score": null,
"sort": [
1563837298000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1563837298,
"format": "standard",
"disqusTitle": "'Veronica Mars' Offers More Than Nostalgia; She's Always Been a Survivor",
"title": "'Veronica Mars' Offers More Than Nostalgia; She's Always Been a Survivor",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>The original \u003cem>Veronica Mars \u003c/em>premiered on television 15 years ago, which, in TV terms, was a whole different era. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4531413\">David Milch\u003c/a>'s HBO series \u003cem>Deadwood\u003c/em>, which just reunited its cast for a \u003ca href=\"https://www.npr.org/2019/05/31/728586097/13-years-later-deadwood-goes-out-just-as-brilliantly-as-it-came-in\">fabulous TV movie\u003c/a>, premiered that year. So did two major hits for ABC, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=123297394\">\u003cem>Lost \u003c/em>\u003c/a>and \u003cem>Desperate Housewives. \u003c/em>And 2004 also brought us the premiere of NBC's \u003ca href=\"https://www.npr.org/2017/10/05/555949712/the-apprentice-creators-look-back\">\u003cem>The Apprentice.\u003c/em> \u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2016/07/30/487769552/kristen-bell-on-bad-moms-it-was-the-funniest-script-i-had-ever-read\">Kristen Bell\u003c/a> hit the ground running that year as Veronica Mars, an outcast high school student in the fictional beach town of Neptune, Calif. She worked part-time as an investigator for her dad's private eye firm, like a modern-day Nancy Drew—with a little bit of Sam Spade mixed in.\u003c/p>\n\u003cp>A lot of time has passed since then, and a lot has happened to Veronica. By the end of the original series, she had gone from high school to college. In the 2014 movie, she abandoned law school. And now, as the new eight-episode \u003cem>Veronica Mars \u003c/em>begins, she's on familiar ground. Back in her home town, she's again working for her dad's detective agency—and still providing her own wry narration as she comments on her life then and now.\u003c/p>\n\u003cp>This new season of \u003cem>Veronica Mars \u003c/em>was supposed to arrive on July 26, but Hulu presented a \u003cem>Mars \u003c/em>panel at the \u003ca href=\"https://www.npr.org/2019/07/19/743341846/san-diego-comic-con-is-turning-50-heres-its-origin-story\">San Diego Comic-Con\u003c/a> fan festival on July 19, which happened to be a day after Bell's 39\u003csup>th\u003c/sup> birthday. Hulu surprised the actress, and the fans—and TV critics—by unveiling the entire new season early, as a sort of birthday present. So viewers can now see all of \u003cem>Veronica Mars—\u003c/em>the tele-movie is available on HBO, and the show's first three vintage seasons, and the new fourth one, are streaming on Hulu.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gwtVHhjQDhE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The new season borrows a bit from \u003ca href=\"https://www.npr.org/2018/08/16/638614995/what-no-jaws-or-see-the-movie-skip-the-book\">\u003cem>Jaws\u003c/em>\u003c/a>, with a series of deaths threatening to close down the beach town during the summer tourist season. Except it's not a shark doing the killing—it's a serial bomber, and there are plenty of suspects to go around. The new players this season all are very strong additions: \u003ca href=\"https://www.npr.org/2017/11/27/566720304/patton-oswalt-falling-in-love-again-was-like-getting-hit-by-lightning-twice\">Patton Oswalt \u003c/a>plays a pizza deliverer and conspiracy theorist, \u003ca href=\"https://www.npr.org/2014/10/14/356140539/j-k-simmons-wont-throw-a-chair-at-your-head-but-his-character-might\">J.K. Simmons\u003c/a> plays an ex-con working for the town bigwig, and Kirby Howell-Baptiste plays a bar owner who's even tougher, and more independent, than Veronica. But the best element of this new \u003cem>Veronica Mars \u003c/em>season, by far, is the returning cast.\u003c/p>\n\u003cp>Give Bell lots of credit. She's as good with the rapid dialogue and shifting emotions here as she is with the surrealistic sarcasm of NBC's \u003ca href=\"https://www.npr.org/2018/09/28/652215005/the-good-place-gets-down-to-earth-where-it-continues-to-delight\">\u003cem>The Good Place\u003c/em>\u003c/a> or her musical numbers as Anna in Disney's \u003ca href=\"https://www.npr.org/2013/11/27/247195259/solid-frozen-puts-a-fresh-sheen-on-an-old-story\">\u003cem>Frozen\u003c/em>\u003c/a>. And while she gets to play opposite many old, familiar characters and actors—to identify them would be to ruin part of the fun—the heart of this new season comes from Veronica's interactions with two key men in her life.\u003c/p>\n\u003cp>One is Jason Dohring as Logan, who was described in the original \u003cem>Veronica Mars\u003c/em> pilot as the school's \"obligatory psychotic jackass.\" Veronica's opinion of Logan has grown significantly, and so has the character. The other prominent person in Veronica's current life is her father Keith—portrayed, as always, by Enrico Colantoni, whose playful parental byplay with his daughter is as funny and as fast as anything ever heard on \u003ca href=\"https://www.npr.org/2015/10/25/451643579/gilmore-guys-on-gilmore-girls-return\">\u003cem>The Gilmore Girls.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>There's a lot to enjoy here. The characters are drawn so deeply by creator Rob Thomas and his staff, that you truly care about them—the new ones as well as the returning favorites. And like the recent \u003cem>Deadwood \u003c/em>TV reunion movie, there's a lot more going on in this new \u003cem>Veronica Mars\u003c/em> season than mere nostalgia. The show's theme song is sung by a new artist this season, but still begins with the same telling, clear-eyed lyrics: \"We used to be friends ...\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The character of Veronica Mars doesn't have it easy in this new batch of shows, but, like the show itself, she's a survivor. \u003cem>Veronica Mars, \u003c/em>as a TV drama, has outlived UPN, been shown on the CW and HBO, and has found a new home on Hulu. And I'm betting this new, excellent season of \u003cem>Veronica Mars \u003c/em>will not be the last we'll hear from her—or see \u003cem>of \u003c/em>her.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Veronica+Mars%27+Offers+More+Than+Nostalgia%3B+She%27s+Always+Been+A+Survivor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"disqusIdentifier": "112909 https://ww2.kqed.org/pop/?p=112909",
"disqusUrl": "https://ww2.kqed.org/pop/2019/07/22/veronica-mars-offers-more-than-nostalgia-shes-always-been-a-survivor/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 755,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1563837372,
"excerpt": "Fifteen years after its debut, 'Veronica Mars' has outlived the UPN and aired on the CW, HBO and now Hulu. Chances are this new, excellent season won't be the last we hear of the wry detective.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Fifteen years after its debut, 'Veronica Mars' has outlived the UPN and aired on the CW, HBO and now Hulu. Chances are this new, excellent season won't be the last we hear of the wry detective.",
"title": "'Veronica Mars' Offers More Than Nostalgia; She's Always Been a Survivor | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Veronica Mars' Offers More Than Nostalgia; She's Always Been a Survivor",
"datePublished": "2019-07-22T16:14:58-07:00",
"dateModified": "2019-07-22T16:16:12-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "veronica-mars-offers-more-than-nostalgia-shes-always-been-a-survivor",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=744076328&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "David Bianculli",
"nprStoryDate": "Mon, 22 Jul 2019 14:03:00 -0400",
"nprLastModifiedDate": "Mon, 22 Jul 2019 14:20:24 -0400",
"nprHtmlLink": "https://www.npr.org/2019/07/22/744076328/veronica-mars-offers-more-than-nostalgia-she-s-always-been-a-survivor?ft=nprml&f=744076328",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/07/20190722_fa_02.mp3?orgId=427869011&topicId=1163&d=424&p=13&story=744076328&ft=nprml&f=744076328",
"audioTrackLength": 425,
"nprImageAgency": "Hulu",
"nprAudioM3u": "http://api.npr.org/m3u/1744152898-340754.m3u?orgId=427869011&topicId=1163&d=424&p=13&story=744076328&ft=nprml&f=744076328",
"nprStoryId": "744076328",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 22 Jul 2019 14:22:00 -0400",
"path": "/pop/112909/veronica-mars-offers-more-than-nostalgia-shes-always-been-a-survivor",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/07/20190722_fa_02.mp3?orgId=427869011&topicId=1163&d=424&p=13&story=744076328&ft=nprml&f=744076328",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The original \u003cem>Veronica Mars \u003c/em>premiered on television 15 years ago, which, in TV terms, was a whole different era. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4531413\">David Milch\u003c/a>'s HBO series \u003cem>Deadwood\u003c/em>, which just reunited its cast for a \u003ca href=\"https://www.npr.org/2019/05/31/728586097/13-years-later-deadwood-goes-out-just-as-brilliantly-as-it-came-in\">fabulous TV movie\u003c/a>, premiered that year. So did two major hits for ABC, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=123297394\">\u003cem>Lost \u003c/em>\u003c/a>and \u003cem>Desperate Housewives. \u003c/em>And 2004 also brought us the premiere of NBC's \u003ca href=\"https://www.npr.org/2017/10/05/555949712/the-apprentice-creators-look-back\">\u003cem>The Apprentice.\u003c/em> \u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2016/07/30/487769552/kristen-bell-on-bad-moms-it-was-the-funniest-script-i-had-ever-read\">Kristen Bell\u003c/a> hit the ground running that year as Veronica Mars, an outcast high school student in the fictional beach town of Neptune, Calif. She worked part-time as an investigator for her dad's private eye firm, like a modern-day Nancy Drew—with a little bit of Sam Spade mixed in.\u003c/p>\n\u003cp>A lot of time has passed since then, and a lot has happened to Veronica. By the end of the original series, she had gone from high school to college. In the 2014 movie, she abandoned law school. And now, as the new eight-episode \u003cem>Veronica Mars \u003c/em>begins, she's on familiar ground. Back in her home town, she's again working for her dad's detective agency—and still providing her own wry narration as she comments on her life then and now.\u003c/p>\n\u003cp>This new season of \u003cem>Veronica Mars \u003c/em>was supposed to arrive on July 26, but Hulu presented a \u003cem>Mars \u003c/em>panel at the \u003ca href=\"https://www.npr.org/2019/07/19/743341846/san-diego-comic-con-is-turning-50-heres-its-origin-story\">San Diego Comic-Con\u003c/a> fan festival on July 19, which happened to be a day after Bell's 39\u003csup>th\u003c/sup> birthday. Hulu surprised the actress, and the fans—and TV critics—by unveiling the entire new season early, as a sort of birthday present. So viewers can now see all of \u003cem>Veronica Mars—\u003c/em>the tele-movie is available on HBO, and the show's first three vintage seasons, and the new fourth one, are streaming on Hulu.\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/gwtVHhjQDhE'\n title='//www.youtube.com/embed/gwtVHhjQDhE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The new season borrows a bit from \u003ca href=\"https://www.npr.org/2018/08/16/638614995/what-no-jaws-or-see-the-movie-skip-the-book\">\u003cem>Jaws\u003c/em>\u003c/a>, with a series of deaths threatening to close down the beach town during the summer tourist season. Except it's not a shark doing the killing—it's a serial bomber, and there are plenty of suspects to go around. The new players this season all are very strong additions: \u003ca href=\"https://www.npr.org/2017/11/27/566720304/patton-oswalt-falling-in-love-again-was-like-getting-hit-by-lightning-twice\">Patton Oswalt \u003c/a>plays a pizza deliverer and conspiracy theorist, \u003ca href=\"https://www.npr.org/2014/10/14/356140539/j-k-simmons-wont-throw-a-chair-at-your-head-but-his-character-might\">J.K. Simmons\u003c/a> plays an ex-con working for the town bigwig, and Kirby Howell-Baptiste plays a bar owner who's even tougher, and more independent, than Veronica. But the best element of this new \u003cem>Veronica Mars \u003c/em>season, by far, is the returning cast.\u003c/p>\n\u003cp>Give Bell lots of credit. She's as good with the rapid dialogue and shifting emotions here as she is with the surrealistic sarcasm of NBC's \u003ca href=\"https://www.npr.org/2018/09/28/652215005/the-good-place-gets-down-to-earth-where-it-continues-to-delight\">\u003cem>The Good Place\u003c/em>\u003c/a> or her musical numbers as Anna in Disney's \u003ca href=\"https://www.npr.org/2013/11/27/247195259/solid-frozen-puts-a-fresh-sheen-on-an-old-story\">\u003cem>Frozen\u003c/em>\u003c/a>. And while she gets to play opposite many old, familiar characters and actors—to identify them would be to ruin part of the fun—the heart of this new season comes from Veronica's interactions with two key men in her life.\u003c/p>\n\u003cp>One is Jason Dohring as Logan, who was described in the original \u003cem>Veronica Mars\u003c/em> pilot as the school's \"obligatory psychotic jackass.\" Veronica's opinion of Logan has grown significantly, and so has the character. The other prominent person in Veronica's current life is her father Keith—portrayed, as always, by Enrico Colantoni, whose playful parental byplay with his daughter is as funny and as fast as anything ever heard on \u003ca href=\"https://www.npr.org/2015/10/25/451643579/gilmore-guys-on-gilmore-girls-return\">\u003cem>The Gilmore Girls.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>There's a lot to enjoy here. The characters are drawn so deeply by creator Rob Thomas and his staff, that you truly care about them—the new ones as well as the returning favorites. And like the recent \u003cem>Deadwood \u003c/em>TV reunion movie, there's a lot more going on in this new \u003cem>Veronica Mars\u003c/em> season than mere nostalgia. The show's theme song is sung by a new artist this season, but still begins with the same telling, clear-eyed lyrics: \"We used to be friends ...\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The character of Veronica Mars doesn't have it easy in this new batch of shows, but, like the show itself, she's a survivor. \u003cem>Veronica Mars, \u003c/em>as a TV drama, has outlived UPN, been shown on the CW and HBO, and has found a new home on Hulu. And I'm betting this new, excellent season of \u003cem>Veronica Mars \u003c/em>will not be the last we'll hear from her—or see \u003cem>of \u003c/em>her.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Veronica+Mars%27+Offers+More+Than+Nostalgia%3B+She%27s+Always+Been+A+Survivor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/112909/veronica-mars-offers-more-than-nostalgia-shes-always-been-a-survivor",
"authors": [
"byline_pop_112909"
],
"categories": [
"pop_3"
],
"tags": [
"pop_1645",
"pop_3341",
"pop_271",
"pop_533",
"pop_3111",
"pop_3782"
],
"featImg": "pop_112910",
"label": "pop"
},
"pop_112889": {
"type": "posts",
"id": "pop_112889",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "112889",
"score": null,
"sort": [
1563818085000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1563818085,
"format": "standard",
"disqusTitle": "Inside the All-Black Writers Room of Netflix's 'Family Reunion'",
"title": "Inside the All-Black Writers Room of Netflix's 'Family Reunion'",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>In \u003cem>Family Reunion\u003c/em>, the new Netflix series, Tia Mowry-Hardrict plays Cocoa McKellan, a free-spirited mother of four and wife of a retired football player, Moz (Anthony Alabi, himself a former NFL player). The McKellans packed their bags in Seattle, Wash., and have moved to Columbus, Ga. to live with Moz's parents—including his old-fashioned mother M'Dear (Loretta Devine).\u003c/p>\n\u003cp>The family sitcom is penned entirely by black writers, and draws from the personal stories of its writers, including creator and executive producer Meg DeLoatch, who got the idea when she went to a family reunion in Georgia three years ago.\u003c/p>\n\u003cp>\"It's such a warm, lovely feeling to be surrounded by family, and—you know, it's summertime, the food is great,\" she says in an interview. \"And I remember wondering how different my life might have been if I had been able to grow up and live and work and raise my son within arm's reach of family. And so that had been marinating in the back of my mind for a while. So when Netflix came to me and asked me to do a family sitcom, I immediately thought back to: Wow, that time in my life.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J4eHcqKh-X8\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how the all-black writers room came about\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At Netflix, and their encouragement. I actually didn't set out—that wasn't what I was thinking, and I'll be honest with you: because it's never really been something I've been allowed to do, at least not with the major networks. And then when one of the execs said, \"Meg, you're going to hire an all-black room, right?\" I was like, \"I am. Yeah, I am!\"\u003c/p>\n\u003cp>And it was really, really cool to do because I wanted to genuinely share the African American experience. And there's no one experience, of course, in this country. And so to assemble a group of people that, in some ways, what we all only had in common was being black, and then we came from different walks of life, different parts of the country—it was a great way to talk and percolate and weave together the experience of one black family. ... I mean it was important to me that we have younger writers, writers that were from affluent and less affluent backgrounds, because all of that is reflected in the show.\u003c/p>\n\u003cp>\u003cstrong>On what is different about an all-black writing staff\u003c/strong>\u003c/p>\n\u003cp>Well, first of all, there's a shorthand that happens when culturally ... we've been raised a similar way. And what I think is interesting is that a lot of African American people in this country: We're only a generation or two away from the South. So that means that even if you do come up in Seattle, you're probably being raised by someone whose grandmother was somewhere in the South. And so that means that culturally, food and conversation and other touchstones, there are some common threads.\u003c/p>\n\u003cp>So that being said, nobody had to stop and explain certain things. It was sort of already understood. Whereas if I were in other rooms that weren't all-black, I might stop and say, \"OK, just so you know, a lot of black people, when they go to church, they'll wear dress hats,\" or ... whatever the topic might be. I might feel the need to stop and explain to someone what we're talking about.\u003c/p>\n\u003cp>\u003cstrong>On the family's immersion in the Southern black cultural experience\u003c/strong>\u003c/p>\n\u003cp>I think it's so important that kids be raised with an understanding of who they are culturally, and if for no other reason, for self-esteem, right. It's not to be like, \"Oh, I'm like this, so I'm different from you, or better than you, or less than you.\" It's: \"I'm like this, and this means something.\" And that there's a cultural relevance in that people have something to fall back on.\u003c/p>\n\u003cp>I was raised in a very integrated environment. And what that meant was that I felt good about being a young African American girl and having friends who weren't African American. And if you're not in touch with your culture, sometimes there are small things that might make you feel less-than, whether it's the way your hair curls or the fact that you're just different from your friends. So I wanted to get into that and say: It's cool to integrate, even to assimilate—but it's only cool if you know who you are and where you come from.\u003c/p>\n\u003cp>\u003cstrong>On the issues of identity around the light-skinned teenage character Jade\u003c/strong>\u003c/p>\n\u003cp>You know, that's the reality for a lot of people. And it can come from both sides of the spectrum depending on where you fall, color-wise. And it's one of the things in our community that we contend with. And there's nothing wrong with it. It's just—let's talk about it. Let's get to the root of it. And then at the end of the day, let's acknowledge while we may sometimes look different, we are not different and we're all beautiful.\u003c/p>\n\u003cp>\u003cstrong>On the scene where Jade is confronted by a group of girls because she doesn't know who the Black Panthers are\u003c/strong>\u003c/p>\n\u003cp>It was really important to me. ... I call them my \"woke mean girl\" crew ... because you know, high school is high school, and often girls are not very nice to each other. But I thought it would be really interesting if they were coming at her and weren't being kind to her because they felt like she was not \"awake\" and \"woke.\" And so that there was more to their cattiness than just \"we're teenage girls and we don't like each other.\" Their constant prodding with Jade is encouraging her to know her history, to appreciate where she comes from, and therefore to own all that she is. And ultimately they get her there. It's just not the nicest way possible.\u003c/p>\n\u003cfigure id=\"attachment_112891\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112891\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-800x600.jpg\" alt=\"'Family Reunion' Executive Producer Meg DeLoatch is a veteran of family sitcoms like 'Family Matters,' 'One on One' and 'Fuller House.'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">'Family Reunion' Executive Producer Meg DeLoatch is a veteran of family sitcoms like 'Family Matters,' 'One on One' and 'Fuller House.' \u003ccite>(Rachel Murray/Getty Images for Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On if she thinks Hollywood is having a moment for diverse cultural experiences in storytelling\u003c/strong>\u003c/p>\n\u003cp>I do. And let me say first: I hope it lasts. Because it happens every now and then where culturally, everybody will get into diversity, and then it kind of goes away. But it does feel different this time. And I am optimistic that it lasts. It is an awesome time to be a woman of color and a storyteller in Hollywood, because people want to hear our stories. And it hasn't always been that way. ...\u003c/p>\n\u003cp>And you know, everybody's experience is different. Maybe someone would argue with me about that. But I really—from just the sheer number of shows and movies and things out there that are telling different parts of the black experience, the Latin experience, etc., I feel that the industry is more open than it's ever been since I started working in it 20 years ago.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jordan Tobias, Sophia Alvarez Boyd and Barrie Hardymon produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Inside+%27Family+Reunion%2C%27+A+Sitcom+With+An+All-Black+Writers+Room&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"disqusIdentifier": "112889 https://ww2.kqed.org/pop/?p=112889",
"disqusUrl": "https://ww2.kqed.org/pop/2019/07/22/inside-the-all-black-writers-room-of-netflixs-family-reunion/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1258,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1563818085,
"excerpt": "Creator Meg DeLoatch conceived her new streaming series, starring Tia Mowry-Hardrict, around her own family reunion in Georgia. Then Netflix encouraged her to staff up with African Americans.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Creator Meg DeLoatch conceived her new streaming series, starring Tia Mowry-Hardrict, around her own family reunion in Georgia. Then Netflix encouraged her to staff up with African Americans.",
"title": "Inside the All-Black Writers Room of Netflix's 'Family Reunion' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Inside the All-Black Writers Room of Netflix's 'Family Reunion'",
"datePublished": "2019-07-22T10:54:45-07:00",
"dateModified": "2019-07-22T10:54:45-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "inside-the-all-black-writers-room-of-netflixs-family-reunion",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=743628748&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Sun, 21 Jul 2019 08:00:00 -0400",
"nprLastModifiedDate": "Sun, 21 Jul 2019 09:55:23 -0400",
"nprHtmlLink": "https://www.npr.org/2019/07/21/743628748/inside-family-reunion-a-sitcom-with-an-all-black-writers-room?ft=nprml&f=743628748",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/wesun/2019/07/20190721_wesun_inside_family_reunion_a_sitcom_with_an_all-black_writers_room.mp3?orgId=1&topicId=1138&d=440&p=10&story=743628748&ft=nprml&f=743628748",
"nprImageAgency": "Netflix",
"nprAudioM3u": "http://api.npr.org/m3u/1743847306-72944c.m3u?orgId=1&topicId=1138&d=440&p=10&story=743628748&ft=nprml&f=743628748",
"nprStoryId": "743628748",
"nprByline": "Lulu Garcia-Navarro",
"audioTrackLength": 441,
"nprImageCredit": "John P. Fleenor",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 21 Jul 2019 08:00:00 -0400",
"path": "/pop/112889/inside-the-all-black-writers-room-of-netflixs-family-reunion",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/wesun/2019/07/20190721_wesun_inside_family_reunion_a_sitcom_with_an_all-black_writers_room.mp3?orgId=1&topicId=1138&d=440&p=10&story=743628748&ft=nprml&f=743628748",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>Family Reunion\u003c/em>, the new Netflix series, Tia Mowry-Hardrict plays Cocoa McKellan, a free-spirited mother of four and wife of a retired football player, Moz (Anthony Alabi, himself a former NFL player). The McKellans packed their bags in Seattle, Wash., and have moved to Columbus, Ga. to live with Moz's parents—including his old-fashioned mother M'Dear (Loretta Devine).\u003c/p>\n\u003cp>The family sitcom is penned entirely by black writers, and draws from the personal stories of its writers, including creator and executive producer Meg DeLoatch, who got the idea when she went to a family reunion in Georgia three years ago.\u003c/p>\n\u003cp>\"It's such a warm, lovely feeling to be surrounded by family, and—you know, it's summertime, the food is great,\" she says in an interview. \"And I remember wondering how different my life might have been if I had been able to grow up and live and work and raise my son within arm's reach of family. And so that had been marinating in the back of my mind for a while. So when Netflix came to me and asked me to do a family sitcom, I immediately thought back to: Wow, that time in my life.\"\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J4eHcqKh-X8'\n title='//www.youtube.com/embed/J4eHcqKh-X8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how the all-black writers room came about\u003c/strong>\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>At Netflix, and their encouragement. I actually didn't set out—that wasn't what I was thinking, and I'll be honest with you: because it's never really been something I've been allowed to do, at least not with the major networks. And then when one of the execs said, \"Meg, you're going to hire an all-black room, right?\" I was like, \"I am. Yeah, I am!\"\u003c/p>\n\u003cp>And it was really, really cool to do because I wanted to genuinely share the African American experience. And there's no one experience, of course, in this country. And so to assemble a group of people that, in some ways, what we all only had in common was being black, and then we came from different walks of life, different parts of the country—it was a great way to talk and percolate and weave together the experience of one black family. ... I mean it was important to me that we have younger writers, writers that were from affluent and less affluent backgrounds, because all of that is reflected in the show.\u003c/p>\n\u003cp>\u003cstrong>On what is different about an all-black writing staff\u003c/strong>\u003c/p>\n\u003cp>Well, first of all, there's a shorthand that happens when culturally ... we've been raised a similar way. And what I think is interesting is that a lot of African American people in this country: We're only a generation or two away from the South. So that means that even if you do come up in Seattle, you're probably being raised by someone whose grandmother was somewhere in the South. And so that means that culturally, food and conversation and other touchstones, there are some common threads.\u003c/p>\n\u003cp>So that being said, nobody had to stop and explain certain things. It was sort of already understood. Whereas if I were in other rooms that weren't all-black, I might stop and say, \"OK, just so you know, a lot of black people, when they go to church, they'll wear dress hats,\" or ... whatever the topic might be. I might feel the need to stop and explain to someone what we're talking about.\u003c/p>\n\u003cp>\u003cstrong>On the family's immersion in the Southern black cultural experience\u003c/strong>\u003c/p>\n\u003cp>I think it's so important that kids be raised with an understanding of who they are culturally, and if for no other reason, for self-esteem, right. It's not to be like, \"Oh, I'm like this, so I'm different from you, or better than you, or less than you.\" It's: \"I'm like this, and this means something.\" And that there's a cultural relevance in that people have something to fall back on.\u003c/p>\n\u003cp>I was raised in a very integrated environment. And what that meant was that I felt good about being a young African American girl and having friends who weren't African American. And if you're not in touch with your culture, sometimes there are small things that might make you feel less-than, whether it's the way your hair curls or the fact that you're just different from your friends. So I wanted to get into that and say: It's cool to integrate, even to assimilate—but it's only cool if you know who you are and where you come from.\u003c/p>\n\u003cp>\u003cstrong>On the issues of identity around the light-skinned teenage character Jade\u003c/strong>\u003c/p>\n\u003cp>You know, that's the reality for a lot of people. And it can come from both sides of the spectrum depending on where you fall, color-wise. And it's one of the things in our community that we contend with. And there's nothing wrong with it. It's just—let's talk about it. Let's get to the root of it. And then at the end of the day, let's acknowledge while we may sometimes look different, we are not different and we're all beautiful.\u003c/p>\n\u003cp>\u003cstrong>On the scene where Jade is confronted by a group of girls because she doesn't know who the Black Panthers are\u003c/strong>\u003c/p>\n\u003cp>It was really important to me. ... I call them my \"woke mean girl\" crew ... because you know, high school is high school, and often girls are not very nice to each other. But I thought it would be really interesting if they were coming at her and weren't being kind to her because they felt like she was not \"awake\" and \"woke.\" And so that there was more to their cattiness than just \"we're teenage girls and we don't like each other.\" Their constant prodding with Jade is encouraging her to know her history, to appreciate where she comes from, and therefore to own all that she is. And ultimately they get her there. It's just not the nicest way possible.\u003c/p>\n\u003cfigure id=\"attachment_112891\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112891\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-800x600.jpg\" alt=\"'Family Reunion' Executive Producer Meg DeLoatch is a veteran of family sitcoms like 'Family Matters,' 'One on One' and 'Fuller House.'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/meg-deloatch-e8008b201653830e912936c530c21921fc9025b2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">'Family Reunion' Executive Producer Meg DeLoatch is a veteran of family sitcoms like 'Family Matters,' 'One on One' and 'Fuller House.' \u003ccite>(Rachel Murray/Getty Images for Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On if she thinks Hollywood is having a moment for diverse cultural experiences in storytelling\u003c/strong>\u003c/p>\n\u003cp>I do. And let me say first: I hope it lasts. Because it happens every now and then where culturally, everybody will get into diversity, and then it kind of goes away. But it does feel different this time. And I am optimistic that it lasts. It is an awesome time to be a woman of color and a storyteller in Hollywood, because people want to hear our stories. And it hasn't always been that way. ...\u003c/p>\n\u003cp>And you know, everybody's experience is different. Maybe someone would argue with me about that. But I really—from just the sheer number of shows and movies and things out there that are telling different parts of the black experience, the Latin experience, etc., I feel that the industry is more open than it's ever been since I started working in it 20 years ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Jordan Tobias, Sophia Alvarez Boyd and Barrie Hardymon produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Inside+%27Family+Reunion%2C%27+A+Sitcom+With+An+All-Black+Writers+Room&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/112889/inside-the-all-black-writers-room-of-netflixs-family-reunion",
"authors": [
"byline_pop_112889"
],
"categories": [
"pop_3"
],
"tags": [
"pop_16",
"pop_3781",
"pop_438",
"pop_1310"
],
"featImg": "pop_112890",
"label": "pop"
},
"pop_112859": {
"type": "posts",
"id": "pop_112859",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "112859",
"score": null,
"sort": [
1563433592000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1563433592,
"format": "standard",
"disqusTitle": "Now Starring in Children's Cartoons: Authentic Indigenous Characters",
"title": "Now Starring in Children's Cartoons: Authentic Indigenous Characters",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>For decades, animated children's stories included negative stereotypes of Indigenous people.\u003c/p>\n\u003cp>There was Disney's \u003ca href=\"https://www.youtube.com/watch?v=hpVNsegX94g\" target=\"_blank\" rel=\"noopener\">\u003cem>Pocahontas\u003c/em>\u003c/a>, which presented the daughter of a Powhatan chief in a romantic love story with Captain John Smith. Crystal Echo Hawk, CEO of the media watchdog group IllumiNative, says it was a false narrative about a girl who in reality was \"taken by force and sexually assaulted.\"\u003c/p>\n\u003cp>There was \u003ca href=\"https://www.youtube.com/watch?v=f7yE8TKUB_M\" target=\"_blank\" rel=\"noopener\">Tiger Lily\u003c/a> in the classic film \u003cem>Peter Pan\u003c/em>, the princess of the \"Piccaninny\" tribe who smoked a peace pipe and spoke in one-syllable gibberish. The same went for the various \"injuns\" in old Bugs Bunny cartoons.\u003c/p>\n\u003cp>More recently, Disney and Pixar got kudos for more authentic representations of Native people in the films \u003ca href=\"https://www.npr.org/2016/11/23/503066811/moana-actress-grew-up-with-the-polynesian-myth-that-inspired-the-movie\" target=\"_blank\" rel=\"noopener\">\u003cem>Moana\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2017/11/20/564385036/mexico-music-and-family-take-center-stage-in-coco\" target=\"_blank\" rel=\"noopener\">\u003cem>Coco\u003c/em>\u003c/a>. Now, TV networks and streaming services are reaching children with realistic portrayals on the small screen—where they consume most of their media.\u003c/p>\n\u003cp>The new PBS show \u003cem>Molly of Denali\u003c/em> is the first nationally distributed children's series to feature an Alaska Native lead character. She's 10 years old; her heritage is Gwich'in, Koyukon and Dena'ina Athabascan. She lives in the fictional village of Qyah, population 94. She goes fishing and hunting, and also looks up information on the Internet and on her smartphone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=L_FiNuKnTW8\u003c/p>\n\u003cp>\"Molly is computer-savvy,\" says the show's creative producer, Princess Daazhraii Johnson. \"I think it's really important for us to show that, because we are modern, living people that are not relegated to the past. That stereotype, that romanticized notion of who we are as Native people, is rampant.\"\u003c/p>\n\u003cp>Johnson says when she travels, she still meets people who assume all Alaskans live in igloos and are Eskimos—\"which isn't a term that people really even use anymore up here,\" she says. \"We have 229 federally recognized tribes in Alaska; we have 20 officially recognized Alaska Native languages here. We are so diverse and dynamic. And that's something else that we're going to be able to share out to the world.\"\u003c/p>\n\u003cp>In one episode, Molly learns that her grandfather stopped drumming and singing as a child when he was taken away to a Bureau of Indian Affairs boarding school. \"At the school we weren't allowed to sing the songs from our people,\" an elder tells her. \"We were made to feel bad about who we were.\"\u003c/p>\n\u003cp>Johnson says this storyline really happened to one of the elders on the show's advisory board. It's a kid's show, so it has a happy ending: Molly and her grandfather sing together.\u003c/p>\n\u003cp>\"We're just over the moon about \u003cem>Molly of Denali\u003c/em>, because this is exactly the type of thing that can really began to shift perceptions in this country,\" Echo Hawk says.\u003c/p>\n\u003cp>Echo Hawk says that for years, Hollywood didn't produce stories about or by Native people because it didn't think a market existed for them. But that, she says, was shortsighted. Her organization polled more than 13,000 Americans, and found that nearly 80% of them said they want to learn more about Native peoples.\u003c/p>\n\u003cp>\"Media makers have always used the excuse 'the Native population in the United States is statistically insignificant ... there's not a demand because you guys are so small,'\" she says. \"But what this new research shows is that there is demand well beyond the Native population in this country.\"\u003c/p>\n\u003cp>For several decades, the Australian and Canadian Broadcasting Corporations have spotlighted shows by and about their indigenous populations. Now, Netflix is \u003ca href=\"https://globalnews.ca/news/5379809/netflix-partners-indigenous-groups/\" target=\"_blank\" rel=\"noopener\">partnering with three Indigenous cultural organizations\u003c/a> to develop the next generation of First Nation creators across Canada.\u003c/p>\n\u003cp>And in the U.S. and in Latin America, Netflix is running the animated film \u003cem>Pachamama\u003c/em>. The story centers on a 10-year-old boy in an Andean village who dreams of becoming a shaman. His people suffer under both the Spanish conquest and the Incan Empire.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QrOwxPPfzy8\u003c/p>\n\u003cp>\"It's told from the point of view of the Indigenous people,\" says Juan Antin, who wrote and directed the film. He says he wanted to give a realistic view of domination in the region.\u003c/p>\n\u003cp>Antin, who is from Argentina, says he was inspired by his travels with his anthropologist wife in Bolivia and Peru. \"There, I fell in love with the culture of Pachamama, which is how the indigenous people call Mother Earth, having respect, love to the Earth,\" he says.\u003c/p>\n\u003cp>The Cartoon Network series \u003cem>Victor and Valentino\u003c/em> features two half-brothers in a fictitious Mesoamerican village, exploring myths that come to life. For example, they follow the dog Achi into the land of the dead, where they encounter a \u003cem>chupacabra \u003c/em>and other legends.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bWPMMV4Z5ew\u003c/p>\n\u003cp>Animator Diego Molano, whose heritage is Mexican, Colombian and Cuban, began drawing his characters in college before writing for cartoons like \u003cem>The Powerpuff Girls\u003c/em>. He says with his new series, he wanted to share the folk tales his grandfather used to tell him.\u003c/p>\n\u003cp>\"I love the myths, but sometimes the myths are not kid-friendly,\" Molano says. \"So I kind of use what I like about them and kind of make a story that is relatable.\"\u003c/p>\n\u003cp>Molano says it's about time networks began showing cartoons with Indigenous characters and themes. He just hopes it's not just a fad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ted Robbins edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Now+Starring+In+Children%27s+Cartoons%3A+Authentic+Indigenous+Characters&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"disqusIdentifier": "112859 https://ww2.kqed.org/pop/?p=112859",
"disqusUrl": "https://ww2.kqed.org/pop/2019/07/18/now-starring-in-childrens-cartoons-authentic-indigenous-characters/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 912,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1563436982,
"excerpt": "An Alaska Native girl ('Molly of Denali'), an Andean boy ('Pachamama'), two half-brothers in Mesoamerica ('Victor and Valentino'): Three new animations feature Native people without bygone-era baggage.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "An Alaska Native girl ('Molly of Denali'), an Andean boy ('Pachamama'), two half-brothers in Mesoamerica ('Victor and Valentino'): Three new animations feature Native people without bygone-era baggage.",
"title": "Now Starring in Children's Cartoons: Authentic Indigenous Characters | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Now Starring in Children's Cartoons: Authentic Indigenous Characters",
"datePublished": "2019-07-18T00:06:32-07:00",
"dateModified": "2019-07-18T01:03:02-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "now-starring-in-childrens-cartoons-authentic-indigenous-characters",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=740804272&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Mandalit del Barco",
"nprStoryDate": "Wed, 17 Jul 2019 12:01:20 -0400",
"nprLastModifiedDate": "Wed, 17 Jul 2019 12:01:20 -0400",
"nprHtmlLink": "https://www.npr.org/2019/07/17/740804272/now-starring-in-childrens-cartoons-authentic-indigenous-characters?ft=nprml&f=740804272",
"nprImageAgency": "WGBH Educational Foundation",
"nprStoryId": "740804272",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 17 Jul 2019 12:01:00 -0400",
"path": "/pop/112859/now-starring-in-childrens-cartoons-authentic-indigenous-characters",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For decades, animated children's stories included negative stereotypes of Indigenous people.\u003c/p>\n\u003cp>There was Disney's \u003ca href=\"https://www.youtube.com/watch?v=hpVNsegX94g\" target=\"_blank\" rel=\"noopener\">\u003cem>Pocahontas\u003c/em>\u003c/a>, which presented the daughter of a Powhatan chief in a romantic love story with Captain John Smith. Crystal Echo Hawk, CEO of the media watchdog group IllumiNative, says it was a false narrative about a girl who in reality was \"taken by force and sexually assaulted.\"\u003c/p>\n\u003cp>There was \u003ca href=\"https://www.youtube.com/watch?v=f7yE8TKUB_M\" target=\"_blank\" rel=\"noopener\">Tiger Lily\u003c/a> in the classic film \u003cem>Peter Pan\u003c/em>, the princess of the \"Piccaninny\" tribe who smoked a peace pipe and spoke in one-syllable gibberish. The same went for the various \"injuns\" in old Bugs Bunny cartoons.\u003c/p>\n\u003cp>More recently, Disney and Pixar got kudos for more authentic representations of Native people in the films \u003ca href=\"https://www.npr.org/2016/11/23/503066811/moana-actress-grew-up-with-the-polynesian-myth-that-inspired-the-movie\" target=\"_blank\" rel=\"noopener\">\u003cem>Moana\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2017/11/20/564385036/mexico-music-and-family-take-center-stage-in-coco\" target=\"_blank\" rel=\"noopener\">\u003cem>Coco\u003c/em>\u003c/a>. Now, TV networks and streaming services are reaching children with realistic portrayals on the small screen—where they consume most of their media.\u003c/p>\n\u003cp>The new PBS show \u003cem>Molly of Denali\u003c/em> is the first nationally distributed children's series to feature an Alaska Native lead character. She's 10 years old; her heritage is Gwich'in, Koyukon and Dena'ina Athabascan. She lives in the fictional village of Qyah, population 94. She goes fishing and hunting, and also looks up information on the Internet and on her smartphone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/L_FiNuKnTW8'\n title='//www.youtube.com/embed/L_FiNuKnTW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"Molly is computer-savvy,\" says the show's creative producer, Princess Daazhraii Johnson. \"I think it's really important for us to show that, because we are modern, living people that are not relegated to the past. That stereotype, that romanticized notion of who we are as Native people, is rampant.\"\u003c/p>\n\u003cp>Johnson says when she travels, she still meets people who assume all Alaskans live in igloos and are Eskimos—\"which isn't a term that people really even use anymore up here,\" she says. \"We have 229 federally recognized tribes in Alaska; we have 20 officially recognized Alaska Native languages here. We are so diverse and dynamic. And that's something else that we're going to be able to share out to the world.\"\u003c/p>\n\u003cp>In one episode, Molly learns that her grandfather stopped drumming and singing as a child when he was taken away to a Bureau of Indian Affairs boarding school. \"At the school we weren't allowed to sing the songs from our people,\" an elder tells her. \"We were made to feel bad about who we were.\"\u003c/p>\n\u003cp>Johnson says this storyline really happened to one of the elders on the show's advisory board. It's a kid's show, so it has a happy ending: Molly and her grandfather sing together.\u003c/p>\n\u003cp>\"We're just over the moon about \u003cem>Molly of Denali\u003c/em>, because this is exactly the type of thing that can really began to shift perceptions in this country,\" Echo Hawk says.\u003c/p>\n\u003cp>Echo Hawk says that for years, Hollywood didn't produce stories about or by Native people because it didn't think a market existed for them. But that, she says, was shortsighted. Her organization polled more than 13,000 Americans, and found that nearly 80% of them said they want to learn more about Native peoples.\u003c/p>\n\u003cp>\"Media makers have always used the excuse 'the Native population in the United States is statistically insignificant ... there's not a demand because you guys are so small,'\" she says. \"But what this new research shows is that there is demand well beyond the Native population in this country.\"\u003c/p>\n\u003cp>For several decades, the Australian and Canadian Broadcasting Corporations have spotlighted shows by and about their indigenous populations. Now, Netflix is \u003ca href=\"https://globalnews.ca/news/5379809/netflix-partners-indigenous-groups/\" target=\"_blank\" rel=\"noopener\">partnering with three Indigenous cultural organizations\u003c/a> to develop the next generation of First Nation creators across Canada.\u003c/p>\n\u003cp>And in the U.S. and in Latin America, Netflix is running the animated film \u003cem>Pachamama\u003c/em>. The story centers on a 10-year-old boy in an Andean village who dreams of becoming a shaman. His people suffer under both the Spanish conquest and the Incan Empire.\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/QrOwxPPfzy8'\n title='//www.youtube.com/embed/QrOwxPPfzy8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"It's told from the point of view of the Indigenous people,\" says Juan Antin, who wrote and directed the film. He says he wanted to give a realistic view of domination in the region.\u003c/p>\n\u003cp>Antin, who is from Argentina, says he was inspired by his travels with his anthropologist wife in Bolivia and Peru. \"There, I fell in love with the culture of Pachamama, which is how the indigenous people call Mother Earth, having respect, love to the Earth,\" he says.\u003c/p>\n\u003cp>The Cartoon Network series \u003cem>Victor and Valentino\u003c/em> features two half-brothers in a fictitious Mesoamerican village, exploring myths that come to life. For example, they follow the dog Achi into the land of the dead, where they encounter a \u003cem>chupacabra \u003c/em>and other legends.\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/bWPMMV4Z5ew'\n title='//www.youtube.com/embed/bWPMMV4Z5ew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Animator Diego Molano, whose heritage is Mexican, Colombian and Cuban, began drawing his characters in college before writing for cartoons like \u003cem>The Powerpuff Girls\u003c/em>. He says with his new series, he wanted to share the folk tales his grandfather used to tell him.\u003c/p>\n\u003cp>\"I love the myths, but sometimes the myths are not kid-friendly,\" Molano says. \"So I kind of use what I like about them and kind of make a story that is relatable.\"\u003c/p>\n\u003cp>Molano says it's about time networks began showing cartoons with Indigenous characters and themes. He just hopes it's not just a fad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ted Robbins edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Now+Starring+In+Children%27s+Cartoons%3A+Authentic+Indigenous+Characters&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/112859/now-starring-in-childrens-cartoons-authentic-indigenous-characters",
"authors": [
"byline_pop_112859"
],
"categories": [
"pop_3"
],
"tags": [
"pop_3053",
"pop_3775",
"pop_2820",
"pop_3774",
"pop_3770",
"pop_438",
"pop_3771",
"pop_229",
"pop_3773",
"pop_3772"
],
"featImg": "pop_112863",
"label": "pop"
},
"pop_112827": {
"type": "posts",
"id": "pop_112827",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "112827",
"score": null,
"sort": [
1563306590000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1563306590,
"format": "standard",
"disqusTitle": "Netflix Cuts Controversial Suicide Scene From '13 Reasons Why'",
"title": "Netflix Cuts Controversial Suicide Scene From '13 Reasons Why'",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Two years after it released the first season of the show \u003cem>13 Reasons Why \u003c/em>with a graphic suicide scene, Netflix has announced that it has edited it out.\u003c/p>\n\u003cp>The show is centered on the suicide of fictional teen Hannah Baker, and the first season's finale shows her taking her own life. Several organizations, including the National Association of School Psychologists, \u003ca href=\"https://www.nasponline.org/resources-and-publications/resources-and-podcasts/school-climate-safety-and-crisis/mental-health-resources/preventing-youth-suicide/13-reasons-why-netflix-series/13-reasons-why-netflix-series-considerations-for-educators\">raised concerns\u003c/a> that it could romanticize suicide for vulnerable teens.\u003c/p>\n\u003cp>\"Our creative intent in portraying the ugly, painful reality of suicide in such graphic detail in Season 1 was to tell the truth about the horror of such an act, and make sure no one would ever wish to emulate it,\" show creator Brian Yorkey \u003ca href=\"https://twitter.com/13ReasonsWhy/status/1150987786243018752\">said in a statement\u003c/a>. \"But as we ready to launch Season 3, we have heard concerns about the scene from Dr. Christine Moutier at the American Foundation for Suicide Prevention and others, and have agreed with Netflix to re-edit it.\"\u003c/p>\n\u003cp>\"No one scene is more important than the life of the show, and its message that we must take better care of each other,\" he added. \"We believe this edit will help the show do the most good for the most people while mitigating any risk for especially vulnerable young viewers.\"\u003c/p>\n\u003cp>After some initial criticism, Netflix added a warning card to the beginning of the episode, alerting viewers that the episode contained \"graphic depictions of suicide and violence.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=toj3CyMhBOs\u003c/p>\n\u003cp>The show also has a website, \u003ca href=\"https://13reasonswhy.info/\">13reasonswhy.info\u003c/a>, containing resources about suicide prevention. It contains videos of cast members discussing topics such as bullying, consent, depression and how to talk with a teen about the series. The site also warns: \"If you are struggling, this series may not be right for you or you may want to watch it with a trusted adult.\"\u003c/p>\n\u003cp>The edited version, now on Netflix, shows Hannah looking at herself in the mirror, full of emotion. It then cuts to her parents finding her body in the bathroom and reacting to her death. The previous version was nearly three minutes long, \u003ca href=\"https://www.hollywoodreporter.com/live-feed/netflix-alters-graphic-13-reasons-why-suicide-scene-controversy-1224489?utm_medium=social&utm_source=twitter&utm_source=t.co&utm_medium=referral\">according to The Hollywood Reporter\u003c/a>, and showed her cutting her wrists with a razor blade.\u003c/p>\n\u003cp>Netflix's decision has drawn praise from a number of suicide prevention advocates, such as American Association of Suicidology, American Foundation for Suicide Prevention, American School Counselor Association, Dr. Helen Hsu from Stanford, advocacy group Mental Health America, the Trevor Project and Dr. Rebecca Hedrick from Cedars-Sinai, according to THR.\u003c/p>\n\u003cp>\"We support the decision to edit the scene in which Hannah takes her own life from \u003cem>13 Reasons Why\u003c/em>. There has been much debate about the series in the medical community,\" they said in a joint statement, as THR reported. \"But this positive change will ensure that \u003cem>13 Reasons Why\u003c/em> continues to encourage open conversation about mental health and suicide prevention—while also mitigating the risk for the most vulnerable teenage viewers.\"\u003c/p>\n\u003cp>Ron Avi Astor at the University of Southern California, who studies adolescent bullying and mental health, discussed with \u003ca href=\"https://www.npr.org/sections/ed/2017/05/05/526871398/facts-about-teens-suicide-and-13-reasons-why\">NPR's Anya Kamenetz\u003c/a> how the images of self-harm on the show could affect teens.\u003c/p>\n\u003cp>Avi Astor told Kamenetz that the depiction could be contagious—but just for certain teens. \"It's not just that any random kid would see it and do it,\" he said, but for a kid who was already thinking about suicide, it had the potential to influence their behavior.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or someone you know may be considering suicide, contact the National Suicide Prevention Lifeline at 1-800-273-8255 (En Español: 1-888-628-9454; Deaf and Hard of Hearing: 1-800-799-4889) or the Crisis Text Line by texting HOME to 741741.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix+Cuts+Controversial+Suicide+Scene+From+%2713+Reasons+Why%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"disqusIdentifier": "112827 https://ww2.kqed.org/pop/?p=112827",
"disqusUrl": "https://ww2.kqed.org/pop/2019/07/16/netflix-cuts-controversial-suicide-scene-from-13-reasons-why/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 628,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1563306648,
"excerpt": "The show removed the most graphic scene from Season 1 after multiple suicide-prevention organizations raised concerns.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The show removed the most graphic scene from Season 1 after multiple suicide-prevention organizations raised concerns.",
"title": "Netflix Cuts Controversial Suicide Scene From '13 Reasons Why' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Netflix Cuts Controversial Suicide Scene From '13 Reasons Why'",
"datePublished": "2019-07-16T12:49:50-07:00",
"dateModified": "2019-07-16T12:50:48-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "netflix-cuts-controversial-suicide-scene-from-13-reasons-why",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=742099576&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Merrit Kennedy",
"nprStoryDate": "Tue, 16 Jul 2019 06:32:23 -0400",
"nprLastModifiedDate": "Tue, 16 Jul 2019 08:37:34 -0400",
"nprHtmlLink": "https://www.npr.org/2019/07/16/742099576/netflix-cuts-controversial-suicide-scene-from-13-reasons-why?ft=nprml&f=742099576",
"nprStoryId": "742099576",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 16 Jul 2019 08:37:00 -0400",
"path": "/pop/112827/netflix-cuts-controversial-suicide-scene-from-13-reasons-why",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two years after it released the first season of the show \u003cem>13 Reasons Why \u003c/em>with a graphic suicide scene, Netflix has announced that it has edited it out.\u003c/p>\n\u003cp>The show is centered on the suicide of fictional teen Hannah Baker, and the first season's finale shows her taking her own life. Several organizations, including the National Association of School Psychologists, \u003ca href=\"https://www.nasponline.org/resources-and-publications/resources-and-podcasts/school-climate-safety-and-crisis/mental-health-resources/preventing-youth-suicide/13-reasons-why-netflix-series/13-reasons-why-netflix-series-considerations-for-educators\">raised concerns\u003c/a> that it could romanticize suicide for vulnerable teens.\u003c/p>\n\u003cp>\"Our creative intent in portraying the ugly, painful reality of suicide in such graphic detail in Season 1 was to tell the truth about the horror of such an act, and make sure no one would ever wish to emulate it,\" show creator Brian Yorkey \u003ca href=\"https://twitter.com/13ReasonsWhy/status/1150987786243018752\">said in a statement\u003c/a>. \"But as we ready to launch Season 3, we have heard concerns about the scene from Dr. Christine Moutier at the American Foundation for Suicide Prevention and others, and have agreed with Netflix to re-edit it.\"\u003c/p>\n\u003cp>\"No one scene is more important than the life of the show, and its message that we must take better care of each other,\" he added. \"We believe this edit will help the show do the most good for the most people while mitigating any risk for especially vulnerable young viewers.\"\u003c/p>\n\u003cp>After some initial criticism, Netflix added a warning card to the beginning of the episode, alerting viewers that the episode contained \"graphic depictions of suicide and violence.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/toj3CyMhBOs'\n title='//www.youtube.com/embed/toj3CyMhBOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show also has a website, \u003ca href=\"https://13reasonswhy.info/\">13reasonswhy.info\u003c/a>, containing resources about suicide prevention. It contains videos of cast members discussing topics such as bullying, consent, depression and how to talk with a teen about the series. The site also warns: \"If you are struggling, this series may not be right for you or you may want to watch it with a trusted adult.\"\u003c/p>\n\u003cp>The edited version, now on Netflix, shows Hannah looking at herself in the mirror, full of emotion. It then cuts to her parents finding her body in the bathroom and reacting to her death. The previous version was nearly three minutes long, \u003ca href=\"https://www.hollywoodreporter.com/live-feed/netflix-alters-graphic-13-reasons-why-suicide-scene-controversy-1224489?utm_medium=social&utm_source=twitter&utm_source=t.co&utm_medium=referral\">according to The Hollywood Reporter\u003c/a>, and showed her cutting her wrists with a razor blade.\u003c/p>\n\u003cp>Netflix's decision has drawn praise from a number of suicide prevention advocates, such as American Association of Suicidology, American Foundation for Suicide Prevention, American School Counselor Association, Dr. Helen Hsu from Stanford, advocacy group Mental Health America, the Trevor Project and Dr. Rebecca Hedrick from Cedars-Sinai, according to THR.\u003c/p>\n\u003cp>\"We support the decision to edit the scene in which Hannah takes her own life from \u003cem>13 Reasons Why\u003c/em>. There has been much debate about the series in the medical community,\" they said in a joint statement, as THR reported. \"But this positive change will ensure that \u003cem>13 Reasons Why\u003c/em> continues to encourage open conversation about mental health and suicide prevention—while also mitigating the risk for the most vulnerable teenage viewers.\"\u003c/p>\n\u003cp>Ron Avi Astor at the University of Southern California, who studies adolescent bullying and mental health, discussed with \u003ca href=\"https://www.npr.org/sections/ed/2017/05/05/526871398/facts-about-teens-suicide-and-13-reasons-why\">NPR's Anya Kamenetz\u003c/a> how the images of self-harm on the show could affect teens.\u003c/p>\n\u003cp>Avi Astor told Kamenetz that the depiction could be contagious—but just for certain teens. \"It's not just that any random kid would see it and do it,\" he said, but for a kid who was already thinking about suicide, it had the potential to influence their behavior.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or someone you know may be considering suicide, contact the National Suicide Prevention Lifeline at 1-800-273-8255 (En Español: 1-888-628-9454; Deaf and Hard of Hearing: 1-800-799-4889) or the Crisis Text Line by texting HOME to 741741.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix+Cuts+Controversial+Suicide+Scene+From+%2713+Reasons+Why%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/112827/netflix-cuts-controversial-suicide-scene-from-13-reasons-why",
"authors": [
"byline_pop_112827"
],
"categories": [
"pop_3"
],
"tags": [
"pop_3221",
"pop_3341",
"pop_643",
"pop_438"
],
"featImg": "pop_112831",
"label": "pop"
},
"pop_112467": {
"type": "posts",
"id": "pop_112467",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "112467",
"score": null,
"sort": [
1562762801000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1562762801,
"format": "standard",
"disqusTitle": "The Most Unintentionally Terrifying Commercials From Your Childhood",
"title": "The Most Unintentionally Terrifying Commercials From Your Childhood",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Recently, for reasons that remain unclear, that weird Quizno's Subs commercial from 2004 started trending on Twitter. If you were alive and awake that year, you definitely remember this:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aZrks-BPeLQ\u003c/p>\n\u003cp>Some hailed the singing \u003ca href=\"https://slate.com/business/2004/02/the-singing-quiznos-rodents-explained.html\">Spongmonkeys\u003c/a> (I didn't make that up; that's honestly what the floating tooth monsters were called) as trend-setters for future surreal ad campaigns. Others relived the confusion they felt the first time they saw the ad. And a surprisingly high number of people expressed abject fear.\u003c/p>\n\u003cp>https://twitter.com/hoofscout/status/1140466088452349952\u003c/p>\n\u003cp>https://twitter.com/baby_ajumma/status/1140487826359902209\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It's not the only time a commercial has unintentionally scared the bejesus out of kids. When I was a child, Tefal—a British range of household electrical items—insisted on putting men with oversized heads in all of their commercials. Their large craniums were supposed to imply a greater degree of intelligence, but all they achieved in my house was giving me and my sister nightmares for years. Was it the grotesquely long skulls that scared us? The creepy multi-tasking? Or the glaring lack of female egg-heads? It doesn't really matter. This advert will never not be horrifying.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2r7XfhTKRMw\u003c/p>\n\u003cp>Kids in the '90s were subjected to similarly horrific head aberrations via Fruit Gushers commercials. The entire series (and it really feels like there were about fifty) evoked a \u003ca href=\"https://roalddahl.fandom.com/wiki/Violet_Beauregarde\">Violet Beauregardean\u003c/a> nightmare—children eating the wrong kind of candy and paying the price, suffering immediate physical \u003cem>and\u003c/em> vocal transformations. This plays out more like a PSA than an ad. Frankly, the banana alone is more terrifying than the entire \u003ca href=\"https://en.wikipedia.org/wiki/Hostel_(2005_film)\">\u003cem>Hostel\u003c/em> franchise\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gyzt3Q05Ris\u003c/p>\n\u003cp>There is clearly something unfathomably difficult about conveying the taste of fruit that drives advertisers to bizarre lengths. The Sprite commercial below portrays a blindfolded human being subjected to physical experiments, something akin to water torture and, apparently, hallucinogens. Its tagline? \"Don't worry. It will only affect your brain.\" Pity the parents who had to explain every bedtime that actually, no, a sexy tennis player wasn't going to come and immobilize them with saran wrap at 4 am.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xrv8-wsf8qo\u003c/p>\n\u003cp>Remarkably, making fruit freaky has been a staple of American advertising for decades. The California Raisins might have sparked an \u003ca href=\"https://en.wikipedia.org/wiki/The_California_Raisin_Show\">entire TV show\u003c/a> and a giant pile of merch, but when you get down to it, there was always something rather unsettling about them. In the clip below, are they worshipping at the feet of a Sun-Maid overlord? Or harassing a woman who's locked in an attic, her smile frozen into a \u003cem>Stepford Wives\u003c/em> grimace to placate them? It's impossible to tell because everyone involved has hollow dead eyes. I am definitely no closer to wanting to eat grapes of sadness.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9hnLVmgfAZA\u003c/p>\n\u003cp>If you want to find unchecked, definitely occurring harassment in commercial-land though, look no further than Mr. Six. The old man's long-term reign of Six Flags-related terror began back in 2004, when he rolled his child-catcher bus into a quiet neighborhood and danced maniacally until he had successfully stolen multiple kids. The whole thing ends up looking a lot like what would happen if \u003ca href=\"https://www.youtube.com/watch?v=XnxgYYfIooc\">\u003cem>The Shining'\u003c/em>s Delbert Grady\u003c/a> escaped the Overlook Hotel and headed straight for suburbia.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l0bvgpg7yig\u003c/p>\n\u003cp>Sometimes, it's not even the mascot that's scary, it's the physical product. After she stopped being Crystal on \u003cem>Dynasty\u003c/em>, Linda Evans got roped into endorsing a beauty product called \u003ca href=\"https://www.amazon.com/Rejuvenique-RJV10KIT-Facial-Toning-Mask/dp/B00005JHWB\">Rejuvenique\u003c/a>, which sends \u003cspan style=\"text-decoration: line-through\">electric shocks\u003c/span> \"pulses\" into the face of the wearer, in the pursuit of tighter skin. Not only does it sound like a torture device, but aesthetically it also resembles a combination of Jason Voorhees and one of the stabby intruders from \u003ca href=\"https://www.imdb.com/title/tt0482606/\">\u003cem>The Strangers\u003c/em>\u003c/a>. (Sidenote: If your family has angered you recently and you fancy getting back at them, you can still find \u003ca href=\"https://www.ebay.com/i/264150847259?chn=ps&norover=1&mkevt=1&mkrid=711-117182-37290-0&mkcid=2&itemid=264150847259&targetid=483914779430&device=c&adtype=pla&googleloc=9031945&poi=&campaignid=1497326117&adgroupid=60666402627&rlsatarget=pla-483914779430&abcId=1139446&merchantid=114729115&gclid=EAIaIQobChMIx8CVqeaU4wIVSh6tBh0Z0w3UEAQYAyABEgIjm_D_BwE\">these on eBay\u003c/a>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SXcYVh-W14E\u003c/p>\n\u003cp>On the surface, this all suggests that nightmare-inducing commercials are a relatively recent invention, but sheer terror has been a part of the TV realm since the medium was invented. Take a look at this 1953 ad for Sugar Rice Krinkles, consider the fact that Stephen King was around six when this was in rotation, then wonder no more about where the inspiration for \u003ca href=\"https://en.wikipedia.org/wiki/It_(novel)\">\u003cem>It\u003c/em>\u003c/a> came from. (In case you've forgotten, the character of Georgie Denbrough is also six when he's killed by the evil clown in that novel. Coincidence?)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3094hyz-K9Y\u003c/p>\n\u003cp>Amazingly—and as much as I'm sure we'd all like to give these advertisers the benefit of the doubt—it's possible that the horror influence can also work the other way around. A full two years AFTER \u003cem>The Twilight Zone\u003c/em> aired its legendary \u003ca href=\"https://www.kqed.org/pop/109055/the-10-best-twilight-zone-episodes-to-watch-before-jordan-peeles-reboot\">\"Living Doll\"\u003c/a> episode (in which a doll named Talky Tina exacts murderous revenge), Mattel released Baby Secret—a doll that speaks exclusively in whispers, wants to hang out when everyone else is asleep and sounds like it's saying \"I want to kill you.\" Take it away, \u003ca href=\"https://en.wikipedia.org/wiki/Annabelle_(film)\">Annabelle\u003c/a> the First!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zY1xtnnMr2c\u003c/p>\n\u003cp>In case all of this has left you feeling disturbed and on edge, this last clip is intended to make you feel better. Because, sure, while massive heads and animated fruit and strange old men doing the running man are bad, pray for the children of Japan who had to watch on in horror for years as this dog did strange things with human ears, doll heads, other animals and what appear to be ping pong paddles, in a series of commercials that culminate in the dog becoming a red-eyed flying half-alien.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IU6ax9nhHUE\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See? It could be worse!\u003c/p>\n\n",
"disqusIdentifier": "112467 https://ww2.kqed.org/pop/?p=112467",
"disqusUrl": "https://ww2.kqed.org/pop/2019/07/10/the-most-unintentionally-terrifying-commercials-from-your-childhood/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1015,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1562719619,
"excerpt": "The most sadistic moments in advertising history, brought together to bring back your childhood nightmares.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The most sadistic moments in advertising history, brought together to bring back your childhood nightmares.",
"title": "The Most Unintentionally Terrifying Commercials From Your Childhood | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Most Unintentionally Terrifying Commercials From Your Childhood",
"datePublished": "2019-07-10T05:46:41-07:00",
"dateModified": "2019-07-09T17:46:59-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-most-unintentionally-terrifying-commercials-from-your-childhood",
"status": "publish",
"path": "/pop/112467/the-most-unintentionally-terrifying-commercials-from-your-childhood",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Recently, for reasons that remain unclear, that weird Quizno's Subs commercial from 2004 started trending on Twitter. If you were alive and awake that year, you definitely remember this:\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/aZrks-BPeLQ'\n title='//www.youtube.com/embed/aZrks-BPeLQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some hailed the singing \u003ca href=\"https://slate.com/business/2004/02/the-singing-quiznos-rodents-explained.html\">Spongmonkeys\u003c/a> (I didn't make that up; that's honestly what the floating tooth monsters were called) as trend-setters for future surreal ad campaigns. Others relived the confusion they felt the first time they saw the ad. And a surprisingly high number of people expressed abject fear.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1140466088452349952"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1140487826359902209"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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 not the only time a commercial has unintentionally scared the bejesus out of kids. When I was a child, Tefal—a British range of household electrical items—insisted on putting men with oversized heads in all of their commercials. Their large craniums were supposed to imply a greater degree of intelligence, but all they achieved in my house was giving me and my sister nightmares for years. Was it the grotesquely long skulls that scared us? The creepy multi-tasking? Or the glaring lack of female egg-heads? It doesn't really matter. This advert will never not be horrifying.\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/2r7XfhTKRMw'\n title='//www.youtube.com/embed/2r7XfhTKRMw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kids in the '90s were subjected to similarly horrific head aberrations via Fruit Gushers commercials. The entire series (and it really feels like there were about fifty) evoked a \u003ca href=\"https://roalddahl.fandom.com/wiki/Violet_Beauregarde\">Violet Beauregardean\u003c/a> nightmare—children eating the wrong kind of candy and paying the price, suffering immediate physical \u003cem>and\u003c/em> vocal transformations. This plays out more like a PSA than an ad. Frankly, the banana alone is more terrifying than the entire \u003ca href=\"https://en.wikipedia.org/wiki/Hostel_(2005_film)\">\u003cem>Hostel\u003c/em> franchise\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Gyzt3Q05Ris'\n title='//www.youtube.com/embed/Gyzt3Q05Ris'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is clearly something unfathomably difficult about conveying the taste of fruit that drives advertisers to bizarre lengths. The Sprite commercial below portrays a blindfolded human being subjected to physical experiments, something akin to water torture and, apparently, hallucinogens. Its tagline? \"Don't worry. It will only affect your brain.\" Pity the parents who had to explain every bedtime that actually, no, a sexy tennis player wasn't going to come and immobilize them with saran wrap at 4 am.\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/xrv8-wsf8qo'\n title='//www.youtube.com/embed/xrv8-wsf8qo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Remarkably, making fruit freaky has been a staple of American advertising for decades. The California Raisins might have sparked an \u003ca href=\"https://en.wikipedia.org/wiki/The_California_Raisin_Show\">entire TV show\u003c/a> and a giant pile of merch, but when you get down to it, there was always something rather unsettling about them. In the clip below, are they worshipping at the feet of a Sun-Maid overlord? Or harassing a woman who's locked in an attic, her smile frozen into a \u003cem>Stepford Wives\u003c/em> grimace to placate them? It's impossible to tell because everyone involved has hollow dead eyes. I am definitely no closer to wanting to eat grapes of sadness.\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/9hnLVmgfAZA'\n title='//www.youtube.com/embed/9hnLVmgfAZA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you want to find unchecked, definitely occurring harassment in commercial-land though, look no further than Mr. Six. The old man's long-term reign of Six Flags-related terror began back in 2004, when he rolled his child-catcher bus into a quiet neighborhood and danced maniacally until he had successfully stolen multiple kids. The whole thing ends up looking a lot like what would happen if \u003ca href=\"https://www.youtube.com/watch?v=XnxgYYfIooc\">\u003cem>The Shining'\u003c/em>s Delbert Grady\u003c/a> escaped the Overlook Hotel and headed straight for suburbia.\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/l0bvgpg7yig'\n title='//www.youtube.com/embed/l0bvgpg7yig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sometimes, it's not even the mascot that's scary, it's the physical product. After she stopped being Crystal on \u003cem>Dynasty\u003c/em>, Linda Evans got roped into endorsing a beauty product called \u003ca href=\"https://www.amazon.com/Rejuvenique-RJV10KIT-Facial-Toning-Mask/dp/B00005JHWB\">Rejuvenique\u003c/a>, which sends \u003cspan style=\"text-decoration: line-through\">electric shocks\u003c/span> \"pulses\" into the face of the wearer, in the pursuit of tighter skin. Not only does it sound like a torture device, but aesthetically it also resembles a combination of Jason Voorhees and one of the stabby intruders from \u003ca href=\"https://www.imdb.com/title/tt0482606/\">\u003cem>The Strangers\u003c/em>\u003c/a>. (Sidenote: If your family has angered you recently and you fancy getting back at them, you can still find \u003ca href=\"https://www.ebay.com/i/264150847259?chn=ps&norover=1&mkevt=1&mkrid=711-117182-37290-0&mkcid=2&itemid=264150847259&targetid=483914779430&device=c&adtype=pla&googleloc=9031945&poi=&campaignid=1497326117&adgroupid=60666402627&rlsatarget=pla-483914779430&abcId=1139446&merchantid=114729115&gclid=EAIaIQobChMIx8CVqeaU4wIVSh6tBh0Z0w3UEAQYAyABEgIjm_D_BwE\">these on eBay\u003c/a>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SXcYVh-W14E'\n title='//www.youtube.com/embed/SXcYVh-W14E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the surface, this all suggests that nightmare-inducing commercials are a relatively recent invention, but sheer terror has been a part of the TV realm since the medium was invented. Take a look at this 1953 ad for Sugar Rice Krinkles, consider the fact that Stephen King was around six when this was in rotation, then wonder no more about where the inspiration for \u003ca href=\"https://en.wikipedia.org/wiki/It_(novel)\">\u003cem>It\u003c/em>\u003c/a> came from. (In case you've forgotten, the character of Georgie Denbrough is also six when he's killed by the evil clown in that novel. Coincidence?)\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/3094hyz-K9Y'\n title='//www.youtube.com/embed/3094hyz-K9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Amazingly—and as much as I'm sure we'd all like to give these advertisers the benefit of the doubt—it's possible that the horror influence can also work the other way around. A full two years AFTER \u003cem>The Twilight Zone\u003c/em> aired its legendary \u003ca href=\"https://www.kqed.org/pop/109055/the-10-best-twilight-zone-episodes-to-watch-before-jordan-peeles-reboot\">\"Living Doll\"\u003c/a> episode (in which a doll named Talky Tina exacts murderous revenge), Mattel released Baby Secret—a doll that speaks exclusively in whispers, wants to hang out when everyone else is asleep and sounds like it's saying \"I want to kill you.\" Take it away, \u003ca href=\"https://en.wikipedia.org/wiki/Annabelle_(film)\">Annabelle\u003c/a> the First!\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/zY1xtnnMr2c'\n title='//www.youtube.com/embed/zY1xtnnMr2c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In case all of this has left you feeling disturbed and on edge, this last clip is intended to make you feel better. Because, sure, while massive heads and animated fruit and strange old men doing the running man are bad, pray for the children of Japan who had to watch on in horror for years as this dog did strange things with human ears, doll heads, other animals and what appear to be ping pong paddles, in a series of commercials that culminate in the dog becoming a red-eyed flying half-alien.\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/IU6ax9nhHUE'\n title='//www.youtube.com/embed/IU6ax9nhHUE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>See? It could be worse!\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/112467/the-most-unintentionally-terrifying-commercials-from-your-childhood",
"authors": [
"11242"
],
"categories": [
"pop_3"
],
"tags": [
"pop_1145",
"pop_646",
"pop_3728",
"pop_100",
"pop_3538",
"pop_3087",
"pop_3341",
"pop_3727",
"pop_3726",
"pop_3289",
"pop_3439"
],
"featImg": "pop_112471",
"label": "pop"
},
"pop_112725": {
"type": "posts",
"id": "pop_112725",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "112725",
"score": null,
"sort": [
1562715865000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1562715865,
"format": "standard",
"disqusTitle": "Aziz Ansari Aims For Redemption With His New Stand-Up Special, 'Right Now'",
"title": "Aziz Ansari Aims For Redemption With His New Stand-Up Special, 'Right Now'",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>As far as #MeToo revelations go, none have been more controversial or more divisive than the \u003cem>Babe\u003c/em> article in which a woman calling herself Grace described a terrible night with Aziz Ansari. The piece—titled \"\u003ca href=\"https://babe.net/2018/01/13/aziz-ansari-28355\">I went on a date with Aziz Ansari. It turned into the worst night of my life\u003c/a>\"—caused \u003ca href=\"https://www.kqed.org/pop/98503/how-the-aziz-ansari-debate-is-currently-missing-the-point\">such a furor\u003c/a> when it came out, some critics believed it was misguided enough to bring #MeToo crashing to a halt forever. It didn't of course, but it did prove to be a disaster for everyone involved.\u003c/p>\n\u003cp>Ansari disappeared from the public eye, Grace's true identity was revealed online and the reputation of \u003ca href=\"https://www.thecut.com/2019/06/babe-net-aziz-ansari-date-rise-and-fall.html\">Babe.net was annihilated\u003c/a> almost overnight, a process sped up by how poorly the author of the piece \u003ca href=\"https://www.businessinsider.com/aziz-ansari-writer-email-to-hln-ashleigh-banfield-2018-1\">responded to criticism\u003c/a> after the fact. There were pros and cons on both sides of the Grace/Ansari dispute, but ultimately the only good gleaned from it was the jumping-off point it gave the nation to start talking, in a wider context, \u003ca href=\"https://www.kqed.org/pop/98503/how-the-aziz-ansari-debate-is-currently-missing-the-point\">about consent\u003c/a>.\u003c/p>\n\u003cp>Eighteen months on and Ansari is back on our screens with a new Netflix special titled \u003cem>Right Now\u003c/em>. Early reviews have focused on the reflections Ansari bookends his set with, about the sexual misconduct claims; his acknowledgment that \"I just felt terrible that this person felt this way\"; and the descriptions of how his life has changed since. But the most revealing material of all is hidden within the core content of the hour-long stand-up special.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t_UqIMUgmZs\u003c/p>\n\u003cp>\u003cem>Right Now\u003c/em> is ultimately about learning curves, taking responsibility for mistakes and the individual reckonings that are part and parcel of social progress. Ansari spends much of the set examining his own less-heard-of missteps. Everything from not hanging out with his grandma enough (\"I'm one afternoon good, I'm not two nights good\") to fat-shaming his little cousin \"on a global scale\" in previous comedy specials (\"He's super buff. He goes to the gym all the time. Probably because he was scarred for life\"). Of praising R. Kelly in his first two specials, he says: \"I’m watching this [\u003cem>Surviving R. Kelly\u003c/em>] documentary. I’m terrified. I’m like ‘Man, they better not pull up them clips! I’ve had a tricky year as it is!'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ansari even reflects on a 2010 episode of \u003cem>Parks and Recreation\u003c/em> in which his character, Tom, gives a teddy bear with a nanny cam in it to Anne, in order to spy on her. \"I feel like if I got that script today, I’d be like ‘Yeeeeeah, I’m not doing this one, guys! I’m pretty sure Tom would go to jail for that.’ But back then I was like ‘Oh, I get it! Now I can see inside her house! Hahaha!'”\u003c/p>\n\u003cp>In exploring these moments, Ansari is publicly accepting and owning his flaws, but the set is not all humility and self-examination. Much of the hour is spent dissecting the absurd nature of people \"out-woking\" one another, particularly online. He gives the audience a number of tests about their own moral compasses too, including a comparison of the number of people \"done\" with R. Kelly vs. Michael Jackson (which plays out exactly as you might imagine). At one point, Ansari explicitly states: \"Look, we’re all shitty people, okay? We have our blind spots and we slowly get better. We’re all on a journey.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LJqhSipUuzw\u003c/p>\n\u003cp>What this all boils down to is Ansari indirectly asking the public to stop judging him so harshly, when learning and growing and making mistakes is the very essence of being human. If there was a comedy special attached to Jon Ronson's excellent \u003ca href=\"https://www.amazon.com/So-Youve-Been-Publicly-Shamed/dp/1594634017\">\u003cem>So You've Been Publicly Shamed\u003c/em>\u003c/a> book, this would be it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In much the same way that Grace and Ansari's disastrous night became an opportunity to talk about communication between intimate partners, Ansari has taken his own public humiliation as a means to more widely explore communication in the modern world and the often judgmental nature of it. For Ansari's detractors, it will all mean very little; a brief glance at Twitter will tell you as much. But taking a personal crisis and making it meaningful on this broad a scale is an impressive feat whichever way you slice it. \"All we really have,\" he says at the end of \u003cem>Right Now\u003c/em>, \"is the moment we’re in and the people we’re with.” Ansari has clearly learned a lot from Grace sharing her story. We could all learn something from hearing his too.\u003c/p>\n\n",
"disqusIdentifier": "112725 https://ww2.kqed.org/pop/?p=112725",
"disqusUrl": "https://ww2.kqed.org/pop/2019/07/09/aziz-ansari-aims-for-redemption-with-his-new-stand-up-special-right-now/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 800,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1562715865,
"excerpt": "Ansari's new Netflix special balances the right amount of humility with a thorough examination of America in the age of wokeness.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Ansari's new Netflix special balances the right amount of humility with a thorough examination of America in the age of wokeness.",
"title": "Aziz Ansari Aims For Redemption With His New Stand-Up Special, 'Right Now' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Aziz Ansari Aims For Redemption With His New Stand-Up Special, 'Right Now'",
"datePublished": "2019-07-09T16:44:25-07:00",
"dateModified": "2019-07-09T16:44:25-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "aziz-ansari-aims-for-redemption-with-his-new-stand-up-special-right-now",
"status": "publish",
"path": "/pop/112725/aziz-ansari-aims-for-redemption-with-his-new-stand-up-special-right-now",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As far as #MeToo revelations go, none have been more controversial or more divisive than the \u003cem>Babe\u003c/em> article in which a woman calling herself Grace described a terrible night with Aziz Ansari. The piece—titled \"\u003ca href=\"https://babe.net/2018/01/13/aziz-ansari-28355\">I went on a date with Aziz Ansari. It turned into the worst night of my life\u003c/a>\"—caused \u003ca href=\"https://www.kqed.org/pop/98503/how-the-aziz-ansari-debate-is-currently-missing-the-point\">such a furor\u003c/a> when it came out, some critics believed it was misguided enough to bring #MeToo crashing to a halt forever. It didn't of course, but it did prove to be a disaster for everyone involved.\u003c/p>\n\u003cp>Ansari disappeared from the public eye, Grace's true identity was revealed online and the reputation of \u003ca href=\"https://www.thecut.com/2019/06/babe-net-aziz-ansari-date-rise-and-fall.html\">Babe.net was annihilated\u003c/a> almost overnight, a process sped up by how poorly the author of the piece \u003ca href=\"https://www.businessinsider.com/aziz-ansari-writer-email-to-hln-ashleigh-banfield-2018-1\">responded to criticism\u003c/a> after the fact. There were pros and cons on both sides of the Grace/Ansari dispute, but ultimately the only good gleaned from it was the jumping-off point it gave the nation to start talking, in a wider context, \u003ca href=\"https://www.kqed.org/pop/98503/how-the-aziz-ansari-debate-is-currently-missing-the-point\">about consent\u003c/a>.\u003c/p>\n\u003cp>Eighteen months on and Ansari is back on our screens with a new Netflix special titled \u003cem>Right Now\u003c/em>. Early reviews have focused on the reflections Ansari bookends his set with, about the sexual misconduct claims; his acknowledgment that \"I just felt terrible that this person felt this way\"; and the descriptions of how his life has changed since. But the most revealing material of all is hidden within the core content of the hour-long stand-up special.\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/t_UqIMUgmZs'\n title='//www.youtube.com/embed/t_UqIMUgmZs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Right Now\u003c/em> is ultimately about learning curves, taking responsibility for mistakes and the individual reckonings that are part and parcel of social progress. Ansari spends much of the set examining his own less-heard-of missteps. Everything from not hanging out with his grandma enough (\"I'm one afternoon good, I'm not two nights good\") to fat-shaming his little cousin \"on a global scale\" in previous comedy specials (\"He's super buff. He goes to the gym all the time. Probably because he was scarred for life\"). Of praising R. Kelly in his first two specials, he says: \"I’m watching this [\u003cem>Surviving R. Kelly\u003c/em>] documentary. I’m terrified. I’m like ‘Man, they better not pull up them clips! I’ve had a tricky year as it is!'”\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>Ansari even reflects on a 2010 episode of \u003cem>Parks and Recreation\u003c/em> in which his character, Tom, gives a teddy bear with a nanny cam in it to Anne, in order to spy on her. \"I feel like if I got that script today, I’d be like ‘Yeeeeeah, I’m not doing this one, guys! I’m pretty sure Tom would go to jail for that.’ But back then I was like ‘Oh, I get it! Now I can see inside her house! Hahaha!'”\u003c/p>\n\u003cp>In exploring these moments, Ansari is publicly accepting and owning his flaws, but the set is not all humility and self-examination. Much of the hour is spent dissecting the absurd nature of people \"out-woking\" one another, particularly online. He gives the audience a number of tests about their own moral compasses too, including a comparison of the number of people \"done\" with R. Kelly vs. Michael Jackson (which plays out exactly as you might imagine). At one point, Ansari explicitly states: \"Look, we’re all shitty people, okay? We have our blind spots and we slowly get better. We’re all on a journey.\"\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/LJqhSipUuzw'\n title='//www.youtube.com/embed/LJqhSipUuzw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What this all boils down to is Ansari indirectly asking the public to stop judging him so harshly, when learning and growing and making mistakes is the very essence of being human. If there was a comedy special attached to Jon Ronson's excellent \u003ca href=\"https://www.amazon.com/So-Youve-Been-Publicly-Shamed/dp/1594634017\">\u003cem>So You've Been Publicly Shamed\u003c/em>\u003c/a> book, this would be it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In much the same way that Grace and Ansari's disastrous night became an opportunity to talk about communication between intimate partners, Ansari has taken his own public humiliation as a means to more widely explore communication in the modern world and the often judgmental nature of it. For Ansari's detractors, it will all mean very little; a brief glance at Twitter will tell you as much. But taking a personal crisis and making it meaningful on this broad a scale is an impressive feat whichever way you slice it. \"All we really have,\" he says at the end of \u003cem>Right Now\u003c/em>, \"is the moment we’re in and the people we’re with.” Ansari has clearly learned a lot from Grace sharing her story. We could all learn something from hearing his too.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/112725/aziz-ansari-aims-for-redemption-with-his-new-stand-up-special-right-now",
"authors": [
"11242"
],
"categories": [
"pop_3"
],
"tags": [
"pop_3128",
"pop_3341",
"pop_3126"
],
"featImg": "pop_112732",
"label": "pop"
},
"pop_112690": {
"type": "posts",
"id": "pop_112690",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "112690",
"score": null,
"sort": [
1562616955000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1562616955,
"format": "standard",
"disqusTitle": "It's About Damn Time We Got A Show Like 'A Black Lady Sketch Show'",
"title": "It's About Damn Time We Got A Show Like 'A Black Lady Sketch Show'",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Over the weekend, the first trailer for \u003cem>A Black Lady Sketch Show\u003c/em> dropped and we haven't been this excited to watch skits since \u003cem>SNL\u003c/em>'s 2005 cast first got together.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EPBi9ttKbeU\u003c/p>\n\u003cp>Executive produced by \u003cem>Insecure\u003c/em>'s Issa Rae, \u003cem>BLSS\u003c/em> is the brainchild of Robin Thede. You might recognize Thede from her BET talk show, \u003ca href=\"https://www.youtube.com/watch?v=h2tzpWJ0frE\">\u003cem>The Rundown\u003c/em>\u003c/a>, or her guest appearances on \u003cem>Key & Peele\u003c/em> and \u003ci>Difficult People,\u003c/i> but behind the scenes, she has also worked as head writer for both \u003cem>The Nightly Show With Larry Wilmore\u003c/em> and \u003cem>The Queen Latifah Show. \u003c/em>\"This team is so dynamic,\" \u003ca href=\"https://www.youtube.com/watch?v=Db2o12JEVBo\">Thede says\u003c/a> in a clip posted to \u003cem>Issa Rae Presents\u003c/em>' YouTube channel. \"We are so ready to bring you the funniest sketches like you have never seen.\"\u003c/p>\n\u003cp>Thede and Rae's on-screen crew is rounded out by Ashley Nicole Black (of \u003ca href=\"https://www.youtube.com/watch?v=CXDe9DYUONE\">\u003cem>Full Frontal With Samantha Bee\u003c/em>\u003c/a>), Gabrielle Dennis (of \u003ca href=\"https://www.youtube.com/watch?v=dYfiFc1yiSw\">\u003cem>Luke Cage\u003c/em>\u003c/a>) and Quinta Brunson (\u003ca href=\"https://www.youtube.com/watch?v=J-FZ2e0uk64\">viral video star\u003c/a> turned BuzzFeed producer). The ladies have also gathered a super-impressive roster of guest stars including Lena Waithe, Kelly Rowland, Angela Bassett, Laverne Cox, Patti LaBelle and Yvette Nicole Brown.\u003c/p>\n\u003cp>\u003cem>A Black Lady Sketch Show\u003c/em> has the astounding distinction of being the first TV sketch show in history created by, written by and starring black women. It is about damn time we got one of those. Thankfully, with the jaw-dropping amount of talent involved, it's bound to be worth the wait.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>'A Black Lady Sketch Show' premieres on HBO, August 2.\u003c/em>\u003c/p>\n\n",
"disqusIdentifier": "112690 https://ww2.kqed.org/pop/?p=112690",
"disqusUrl": "https://ww2.kqed.org/pop/2019/07/08/its-about-damn-time-we-got-a-show-like-a-black-lady-sketch-show/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 264,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1562616955,
"excerpt": "The first TV sketch show in history created by, written by and starring black women finally arrives on August 2.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The first TV sketch show in history created by, written by and starring black women finally arrives on August 2.",
"title": "It's About Damn Time We Got A Show Like 'A Black Lady Sketch Show' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "It's About Damn Time We Got A Show Like 'A Black Lady Sketch Show'",
"datePublished": "2019-07-08T13:15:55-07:00",
"dateModified": "2019-07-08T13:15:55-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "its-about-damn-time-we-got-a-show-like-a-black-lady-sketch-show",
"status": "publish",
"path": "/pop/112690/its-about-damn-time-we-got-a-show-like-a-black-lady-sketch-show",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the weekend, the first trailer for \u003cem>A Black Lady Sketch Show\u003c/em> dropped and we haven't been this excited to watch skits since \u003cem>SNL\u003c/em>'s 2005 cast first got together.\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/EPBi9ttKbeU'\n title='//www.youtube.com/embed/EPBi9ttKbeU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Executive produced by \u003cem>Insecure\u003c/em>'s Issa Rae, \u003cem>BLSS\u003c/em> is the brainchild of Robin Thede. You might recognize Thede from her BET talk show, \u003ca href=\"https://www.youtube.com/watch?v=h2tzpWJ0frE\">\u003cem>The Rundown\u003c/em>\u003c/a>, or her guest appearances on \u003cem>Key & Peele\u003c/em> and \u003ci>Difficult People,\u003c/i> but behind the scenes, she has also worked as head writer for both \u003cem>The Nightly Show With Larry Wilmore\u003c/em> and \u003cem>The Queen Latifah Show. \u003c/em>\"This team is so dynamic,\" \u003ca href=\"https://www.youtube.com/watch?v=Db2o12JEVBo\">Thede says\u003c/a> in a clip posted to \u003cem>Issa Rae Presents\u003c/em>' YouTube channel. \"We are so ready to bring you the funniest sketches like you have never seen.\"\u003c/p>\n\u003cp>Thede and Rae's on-screen crew is rounded out by Ashley Nicole Black (of \u003ca href=\"https://www.youtube.com/watch?v=CXDe9DYUONE\">\u003cem>Full Frontal With Samantha Bee\u003c/em>\u003c/a>), Gabrielle Dennis (of \u003ca href=\"https://www.youtube.com/watch?v=dYfiFc1yiSw\">\u003cem>Luke Cage\u003c/em>\u003c/a>) and Quinta Brunson (\u003ca href=\"https://www.youtube.com/watch?v=J-FZ2e0uk64\">viral video star\u003c/a> turned BuzzFeed producer). The ladies have also gathered a super-impressive roster of guest stars including Lena Waithe, Kelly Rowland, Angela Bassett, Laverne Cox, Patti LaBelle and Yvette Nicole Brown.\u003c/p>\n\u003cp>\u003cem>A Black Lady Sketch Show\u003c/em> has the astounding distinction of being the first TV sketch show in history created by, written by and starring black women. It is about damn time we got one of those. Thankfully, with the jaw-dropping amount of talent involved, it's bound to be worth the wait.\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\u003cp>\u003cem>'A Black Lady Sketch Show' premieres on HBO, August 2.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/112690/its-about-damn-time-we-got-a-show-like-a-black-lady-sketch-show",
"authors": [
"11242"
],
"categories": [
"pop_3"
],
"tags": [
"pop_3745",
"pop_3749",
"pop_3341",
"pop_3748",
"pop_271",
"pop_2915",
"pop_3746",
"pop_3744",
"pop_3750",
"pop_3743",
"pop_3751",
"pop_3747"
],
"featImg": "pop_112700",
"label": "pop"
},
"pop_112681": {
"type": "posts",
"id": "pop_112681",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "112681",
"score": null,
"sort": [
1562610200000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1562610200,
"format": "standard",
"disqusTitle": "David Harbour on the 'Stranger Things' Kids, Being Jim Hopper and Missing Barb",
"title": "David Harbour on the 'Stranger Things' Kids, Being Jim Hopper and Missing Barb",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>In \u003cem>Stranger Things 3\u003c/em>, the citizens of the fictitious town of Hawkins, Ind., have a turbulent Fourth of July ahead of them. But the unconventional teenage protagonists of the show, led by grumpy police chief Jim Hopper, are ready for the challenge.\u003c/p>\n\u003cp>Hopper is played by David Harbour, a veteran actor who began his career more than 20 years ago. He found success on stage, TV and film, but Harbour didn't land a breakout role until the '80s nostalgia-fueled, sci-fi adventure came along.\u003c/p>\n\u003cp>Thanks to the show's cult following, Hopper has become a character so beloved that he's \u003ca href=\"https://www.huffpost.com/entry/david-harbour-senior-high-school-photos-viral_n_5a59f0cce4b03c418965ece0\">appeared in one fan's senior photos\u003c/a> and \u003ca href=\"https://news.avclub.com/david-harbour-honors-retweets-officiates-wedding-in-ch-1829105885\">officiated a real wedding.\u003c/a>\u003c/p>\n\u003cp>The first two seasons of the Netflix hit saw Hopper as an unlikely hero: a curmudgeon coping with immense personal loss and perpetually disgruntled by the kids in town.\u003c/p>\n\u003cp>This season, Hopper is the adoptive father of Eleven (Millie Bobby Brown), a teenage girl with other-worldly capabilities and her first boyfriend, Mike (played by Finn Wolfhard). But, before anyone can stress about the throes of young love, the teens and Hopper are tasked with saving Hawkins (and the world) from the dangerous paranormal forces of an alternate universe known as the Upside Down.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While Harbour understands the allure of the dashing, leading man roles, he also believes that imperfect characters, like Hopper, offer actors the chance to shine a light on the weirdos of the world.\u003c/p>\n\u003cp>Balancing the chief's rougher edges with his growing tendency toward tenderness is one of Harbour's favorite parts of this season. He hopes his fallible and complicated characters speak to real human experiences and ultimately help his audiences learn deeper empathy for others. It's a theme he touched on \u003ca href=\"https://www.elle.com/culture/movies-tv/news/a42519/david-harbour-stranger-things-sag-award-speech/\">in an acceptance speech\u003c/a> he gave at the SAG awards in 2017.\u003c/p>\n\u003cp>\"We are united in that we are all human beings and we are all together on this horrible, painful, joyous, exciting, and mysterious ride that is being alive,\" he said. \"Now, as we act in the continuing narrative of \u003cem>Stranger Things,\u003c/em> we 1983 Midwesterners will repel bullies. We will shelter freaks and outcasts, those who have no homes. We will get past the lies. We will hunt monsters.\u003cem>\"\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XcnHOQ-cHa0\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the types of characters he's drawn to\u003c/strong>\u003c/p>\n\u003cp>There's a temptation to be larger than life, to be more beautiful and more capable and I've always been drawn to characters that are less-than capable, that make me feel not alone in my weirdness, in the fact that I don't always fit in, in the fact that I don't always do the right thing. ...\u003c/p>\n\u003cp>That sort of mess I want to bring to the screen so that people can maybe feel deeper empathy for others. We're all a bit of a mess. I mean, we're all kind of chaotically struggling to get through this life in various forms and there's a lot of joy in that, and a lot of sadness, and a lot of all kinds of different emotions. So, I've always wanted to portray that much more than to be someone who people looked at as perfect.\u003c/p>\n\u003cp>\u003cstrong>On watching his young co-stars grow up\u003c/strong>\u003c/p>\n\u003cp>[In this season,] you watch the kids grow up in real time. And you feel the passage of time, more strongly than anything you could write or act....\u003c/p>\n\u003cp>I mean, it's very strange. And like, I sort of mirror Hopper in a sense where I started off with them trying to be very separate, you know, even with my work, I just wanted to be apart from them. And then as the show grows and they grow and they become more of who they are, we've gotten closer and closer.\u003c/p>\n\u003cfigure id=\"attachment_112686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112686\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-800x450.jpg\" alt=\"Jim Hopper on the case, Season 3, 'Stranger Things'.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Hopper on the case, Season 3, 'Stranger Things'. \u003ccite>(Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the advice he gives to the teen actors on \u003c/strong>\u003cem>\u003cstrong>Stranger Things\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I think that as young artists, they're getting so much success and ... I want Millie [Bobby Brown] to be the next Meryl Streep and I want Finn [Wolfhard] to be the next Daniel Day-Lewis....\u003c/p>\n\u003cp>I mean, I have these desires for them to be the great actors of the next generation and I feel like that takes work. And it takes development. And it takes acting classes, even when you're paid a lot and well-respected for your acting. Even when it's good at a certain level, it still takes development of that tool.\u003c/p>\n\u003cp>\u003cstrong> On how his career aspirations have changed over time\u003c/strong>\u003c/p>\n\u003cp>Of course, in the back of my mind, there was a draw to fame. I looked at the celebrities I grew up with—you know, Harrison Ford or Gene Hackman and these guys—and I looked at them as a sort of American royalty. And I remember feeling like I wanted to be a part of that.\u003c/p>\n\u003cp>And then, as I've progressed along that line, it's become more and more apparent that my goal is to get messier. You know, I want to be the messy artist that I always dreamed of being when I was a kid.\u003c/p>\n\u003cp>\u003cstrong>On the audience's love and continued pursuit of justice for Barb, a character slain during Season 1\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It's funny, I was just thinking about that the other day. She was such a great character. And it's so rare. 'Cuz I watch the season and ... I think each season gets better, especially this season, I think is so beautiful and epic and profound. And I was like, \"Oh, we can't get any better than this!\" And the only thing I thought was, \"I kind wish Barb was around...\" She makes everything a little better!\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR.\u003c/a>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Stranger+Things%27+Star+David+Harbour+Will+Take+Messy+Over+Perfect+Any+Day&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"disqusIdentifier": "112681 https://ww2.kqed.org/pop/?p=112681",
"disqusUrl": "https://ww2.kqed.org/pop/2019/07/08/david-harbour-on-the-stranger-things-kids-being-jim-hopper-and-missing-barb/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 981,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 24
},
"modified": 1562610200,
"excerpt": "\"I've always been drawn to characters that are less-than capable, that make me feel not alone in my weirdness,\" Harbour says. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": ""I've always been drawn to characters that are less-than capable, that make me feel not alone in my weirdness," Harbour says. ",
"title": "David Harbour on the 'Stranger Things' Kids, Being Jim Hopper and Missing Barb | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "David Harbour on the 'Stranger Things' Kids, Being Jim Hopper and Missing Barb",
"datePublished": "2019-07-08T11:23:20-07:00",
"dateModified": "2019-07-08T11:23:20-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "david-harbour-on-the-stranger-things-kids-being-jim-hopper-and-missing-barb",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=737744057&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Madeline Ducharme",
"nprStoryDate": "Thu, 04 Jul 2019 05:18:00 -0400",
"nprLastModifiedDate": "Thu, 04 Jul 2019 13:25:33 -0400",
"nprHtmlLink": "https://www.npr.org/2019/07/04/737744057/stranger-things-star-david-harbour-will-take-messy-over-perfect-any-day?ft=nprml&f=737744057",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/07/20190704_me_stranger_things_star_david_harbour_will_take_messy_over_perfect_any_day.mp3?orgId=1&topicId=1138&d=424&p=3&story=737744057&ft=nprml&f=737744057",
"audioTrackLength": 424,
"nprImageAgency": "Courtesy of Netflix",
"nprAudioM3u": "http://api.npr.org/m3u/1738724423-ad152b.m3u?orgId=1&topicId=1138&d=424&p=3&story=737744057&ft=nprml&f=737744057",
"nprStoryId": "737744057",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 04 Jul 2019 13:25:00 -0400",
"path": "/pop/112681/david-harbour-on-the-stranger-things-kids-being-jim-hopper-and-missing-barb",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/07/20190704_me_stranger_things_star_david_harbour_will_take_messy_over_perfect_any_day.mp3?orgId=1&topicId=1138&d=424&p=3&story=737744057&ft=nprml&f=737744057",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>Stranger Things 3\u003c/em>, the citizens of the fictitious town of Hawkins, Ind., have a turbulent Fourth of July ahead of them. But the unconventional teenage protagonists of the show, led by grumpy police chief Jim Hopper, are ready for the challenge.\u003c/p>\n\u003cp>Hopper is played by David Harbour, a veteran actor who began his career more than 20 years ago. He found success on stage, TV and film, but Harbour didn't land a breakout role until the '80s nostalgia-fueled, sci-fi adventure came along.\u003c/p>\n\u003cp>Thanks to the show's cult following, Hopper has become a character so beloved that he's \u003ca href=\"https://www.huffpost.com/entry/david-harbour-senior-high-school-photos-viral_n_5a59f0cce4b03c418965ece0\">appeared in one fan's senior photos\u003c/a> and \u003ca href=\"https://news.avclub.com/david-harbour-honors-retweets-officiates-wedding-in-ch-1829105885\">officiated a real wedding.\u003c/a>\u003c/p>\n\u003cp>The first two seasons of the Netflix hit saw Hopper as an unlikely hero: a curmudgeon coping with immense personal loss and perpetually disgruntled by the kids in town.\u003c/p>\n\u003cp>This season, Hopper is the adoptive father of Eleven (Millie Bobby Brown), a teenage girl with other-worldly capabilities and her first boyfriend, Mike (played by Finn Wolfhard). But, before anyone can stress about the throes of young love, the teens and Hopper are tasked with saving Hawkins (and the world) from the dangerous paranormal forces of an alternate universe known as the Upside Down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While Harbour understands the allure of the dashing, leading man roles, he also believes that imperfect characters, like Hopper, offer actors the chance to shine a light on the weirdos of the world.\u003c/p>\n\u003cp>Balancing the chief's rougher edges with his growing tendency toward tenderness is one of Harbour's favorite parts of this season. He hopes his fallible and complicated characters speak to real human experiences and ultimately help his audiences learn deeper empathy for others. It's a theme he touched on \u003ca href=\"https://www.elle.com/culture/movies-tv/news/a42519/david-harbour-stranger-things-sag-award-speech/\">in an acceptance speech\u003c/a> he gave at the SAG awards in 2017.\u003c/p>\n\u003cp>\"We are united in that we are all human beings and we are all together on this horrible, painful, joyous, exciting, and mysterious ride that is being alive,\" he said. \"Now, as we act in the continuing narrative of \u003cem>Stranger Things,\u003c/em> we 1983 Midwesterners will repel bullies. We will shelter freaks and outcasts, those who have no homes. We will get past the lies. We will hunt monsters.\u003cem>\"\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XcnHOQ-cHa0'\n title='//www.youtube.com/embed/XcnHOQ-cHa0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the types of characters he's drawn to\u003c/strong>\u003c/p>\n\u003cp>There's a temptation to be larger than life, to be more beautiful and more capable and I've always been drawn to characters that are less-than capable, that make me feel not alone in my weirdness, in the fact that I don't always fit in, in the fact that I don't always do the right thing. ...\u003c/p>\n\u003cp>That sort of mess I want to bring to the screen so that people can maybe feel deeper empathy for others. We're all a bit of a mess. I mean, we're all kind of chaotically struggling to get through this life in various forms and there's a lot of joy in that, and a lot of sadness, and a lot of all kinds of different emotions. So, I've always wanted to portray that much more than to be someone who people looked at as perfect.\u003c/p>\n\u003cp>\u003cstrong>On watching his young co-stars grow up\u003c/strong>\u003c/p>\n\u003cp>[In this season,] you watch the kids grow up in real time. And you feel the passage of time, more strongly than anything you could write or act....\u003c/p>\n\u003cp>I mean, it's very strange. And like, I sort of mirror Hopper in a sense where I started off with them trying to be very separate, you know, even with my work, I just wanted to be apart from them. And then as the show grows and they grow and they become more of who they are, we've gotten closer and closer.\u003c/p>\n\u003cfigure id=\"attachment_112686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112686\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-800x450.jpg\" alt=\"Jim Hopper on the case, Season 3, 'Stranger Things'.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/07/2dcaabd0-812e-11e9-a01d-9b31871e8d95.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Hopper on the case, Season 3, 'Stranger Things'. \u003ccite>(Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the advice he gives to the teen actors on \u003c/strong>\u003cem>\u003cstrong>Stranger Things\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I think that as young artists, they're getting so much success and ... I want Millie [Bobby Brown] to be the next Meryl Streep and I want Finn [Wolfhard] to be the next Daniel Day-Lewis....\u003c/p>\n\u003cp>I mean, I have these desires for them to be the great actors of the next generation and I feel like that takes work. And it takes development. And it takes acting classes, even when you're paid a lot and well-respected for your acting. Even when it's good at a certain level, it still takes development of that tool.\u003c/p>\n\u003cp>\u003cstrong> On how his career aspirations have changed over time\u003c/strong>\u003c/p>\n\u003cp>Of course, in the back of my mind, there was a draw to fame. I looked at the celebrities I grew up with—you know, Harrison Ford or Gene Hackman and these guys—and I looked at them as a sort of American royalty. And I remember feeling like I wanted to be a part of that.\u003c/p>\n\u003cp>And then, as I've progressed along that line, it's become more and more apparent that my goal is to get messier. You know, I want to be the messy artist that I always dreamed of being when I was a kid.\u003c/p>\n\u003cp>\u003cstrong>On the audience's love and continued pursuit of justice for Barb, a character slain during Season 1\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It's funny, I was just thinking about that the other day. She was such a great character. And it's so rare. 'Cuz I watch the season and ... I think each season gets better, especially this season, I think is so beautiful and epic and profound. And I was like, \"Oh, we can't get any better than this!\" And the only thing I thought was, \"I kind wish Barb was around...\" She makes everything a little better!\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR.\u003c/a>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Stranger+Things%27+Star+David+Harbour+Will+Take+Messy+Over+Perfect+Any+Day&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/112681/david-harbour-on-the-stranger-things-kids-being-jim-hopper-and-missing-barb",
"authors": [
"byline_pop_112681"
],
"categories": [
"pop_3"
],
"tags": [
"pop_438",
"pop_2894"
],
"featImg": "pop_112682",
"label": "pop"
},
"pop_112650": {
"type": "posts",
"id": "pop_112650",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "112650",
"score": null,
"sort": [
1562182158000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1562182158,
"format": "standard",
"disqusTitle": "Sarah Jessica Parker On 'Divorce,' 'Sex,' And Her Own #MeToo Moments",
"title": "Sarah Jessica Parker On 'Divorce,' 'Sex,' And Her Own #MeToo Moments",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Sarah Jessica Parker has spent much of her acting career exploring what it means to be in a relationship—and to be single. In the HBO series\u003cem> Sex and the City\u003c/em>, which ran from 1998 until 2004, she played Carrie Bradshaw, a single writer chronicling her experiences with the Manhattan dating scene. Now, in the HBO comedy series, \u003cem>Divorce\u003c/em>, she stars as Frances, a mother of two navigating the dissolution of her marriage.\u003c/p>\n\u003cp>Currently in its third and final season, the series has followed Frances and her ex-husband, Robert (Thomas Haden Church), as they work through the details of divorce and custody—and their new, post-divorce relationships. Parker, who also serves as one of the show's executive producers, says the series aims to portray the \"smaller stories of divorce—the stories of divorce that are not accompanied by high-powered attorneys.\"\u003c/p>\n\u003cp>She describes Frances and Robert as \"people who find that they are terrible at divorce because they've never done it before, and they don't know how to be strategic.\"\u003c/p>\n\u003cp>Parker notes that while certain aspects of the show feel familiar—such as Frances' efforts to connect with her children—the dynamic between Frances and Robert feels \"very unrelated\" to her own, 22-year marriage to actor \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1139938\">Matthew Broderick\u003c/a>. \"The marriage stuff [in \u003cem>Divorce\u003c/em>] is fantastically, happily unfamiliar,\" she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZVaIZ0cLM_s\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On her own parents divorcing when she was around 2 years old\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I'm sort of mystified by how little trauma I feel about it. I can't pretend that it in any way sort of shaped my own feelings about marriage, or a relationship, or what I wanted to do specifically with this show. And that might be because my mother remarried fairly quickly, and my father had a relationship fairly soon after that. And a majority of my life these were two separate people. ... I knew them only as separate people, separate of one another.\u003c/p>\n\u003cp>\u003cstrong>On how her mom made sure she was exposed to the arts, even as her family struggled to make ends meet\u003c/strong>\u003c/p>\n\u003cp>[My mother] wanted us to be exposed to the arts. She wanted us to be readers. She wanted us to be curious. She wanted us to see everything we could see, hear everything we could hear, eat everything we could eat. She wanted us to feel that we were witnessing the unfamiliar. ...\u003c/p>\n\u003cp>We did receive free lunches at school. There were times that we existed with the help of many of those programs, but there was this wonderful period in the '70s where arts was also funded by our government and there were programs and tickets available for free or for a very small stipend. My mother is industrious and smart and was always aware of any opportunity that she could afford. And listen, there were all sorts of things we didn't have, but my mother felt those were not nearly as necessary as exposure to the arts. I mean, she really felt that your life was far more enriched by [arts] than a Barbie doll, or a television set, or air conditioning, or clothes that everybody else in your grade wore, or sneakers that were popular, or Popsicles. ...\u003c/p>\n\u003cp>I was very interested in all of it. That didn't mean that I always found the symphony the most dazzling place to be, and I'm sure there were many times that I had fantasies of being at my friends' house because they were watching maybe \u003cem>The Partridge Family\u003c/em> or \u003cem>The Brady Bunch\u003c/em> and eating sugar—a Hostess product. But I will say that when I was in the audience at the ballet or the theater, and occasionally at the philharmonic, I was engrossed and engaged ... like, transported—unquestionably, nowhere else I'd rather be. I loved the work. I loved the discipline.\u003c/p>\n\u003cp>\u003cstrong>On how ballet training helped her as an actor \u003c/strong>\u003c/p>\n\u003cp>[It] allowed me to be physical in my work—and that's not something everybody wants to do, or can do, or thinks of integrating. But I think even for \u003cem>L.A. Story,\u003c/em> I think being a dancer was helpful in sorting out that role. Especially because Steve Martin had written that part—and he was such a physical performer—I thought: Oh, well, I can be physical, because he might write imagining a physical performance as well. And even as Carrie Bradshaw [in S\u003cem>ex and the City\u003c/em>], running all the time, or moving around, finding ways to be physical in lots of things, [it] has been maybe something that I call upon.\u003c/p>\n\u003cp>\u003cstrong>On whether she related to the four women on \u003c/strong>\u003cem>\u003cstrong>Sex and the City \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I was really familiar with Candace Bushnell's column [upon which the series was based]. I had actually read the book when all those columns had been compiled into a book, from those \u003cem>New York Observer \u003c/em>columns. But those women, or the women that we eventually played, they were not women that I knew. ... They were sort of a different species to me, which was thrilling and completely intriguing. ...\u003c/p>\n\u003cp>I never went to clubs growing up, I always felt intimidated by the atmosphere, by the rope, by a guard, by someone asking my name, and how many were in my party. All of it seemed forbidding and I never felt cool enough, so I didn't do any of that. But I didn't feel it was necessary for me to understand what was being asked of me. I loved playing [Carrie] so much. I think we all love playing those characters so much, and we were consumed by work. I was working 18-, 20-hour days for years and years, until I had a child.\u003c/p>\n\u003cp>\u003cstrong>On how the \u003c/strong>\u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">\u003cstrong>#MeToo \u003c/strong>\u003c/a>\u003cstrong>movement made her reassess experiences she's had with men in her career \u003c/strong>\u003c/p>\n\u003cp>It really wasn't, I would say, until about six or eight months ago that I started recognizing countless experiences of men behaving poorly, inappropriately, and all the ways that I had made it possible to keep coming to work or to remain on set, or to simply ... just push it down, push it away, find a little space for it and move on. ...\u003c/p>\n\u003cp>[I] really just didn't allow it to consume me. To be honest, I don't know why I either wasn't courageous or more destroyed by some of the things that I was privy to, that I was on the receiving end of.\u003c/p>\n\u003cp>\u003cstrong>On how she handled working with a big movie star who was behaving inappropriately \u003c/strong>\u003c/p>\n\u003cp>I think no matter how evolved or how modern I thought I was ... I didn't feel entirely in a position—no matter what my role was on set—I didn't feel as powerful as the man who was behaving inappropriately, which ... strikes me as just stunning to say out loud, because there were plenty of occasions where it was happening and I was in a different position and I was as powerful. I mean, I had every right to say, \"This is inappropriate.\" I could have felt safe in going to a superior.\u003c/p>\n\u003cp>And, in fact, I will say, when there was a situation with somebody and I\u003cem> did\u003c/em> go to my agent—because I felt I was no longer able to convey how uncomfortable this was making me, how inappropriate it was ... within hours everything had changed. ... He said to them, \"If this continues, I have sent her a ticket, a one-way ticket out of this city\"—where I was shooting—\"and she will not be returning.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Mooj Zadie produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sarah+Jessica+Parker+On+%27Sex%2C%27+%27Divorce%2C%27+Marriage+And+%23MeToo&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"disqusIdentifier": "112650 https://ww2.kqed.org/pop/?p=112650",
"disqusUrl": "https://ww2.kqed.org/pop/2019/07/03/sarah-jessica-parker-on-divorce-sex-and-her-own-metoo-moments/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1322,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 24
},
"modified": 1562183743,
"excerpt": "SJP spills on her HBO shows, her own marriage and the #MeToo moments from her own career.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "SJP spills on her HBO shows, her own marriage and the #MeToo moments from her own career.",
"title": "Sarah Jessica Parker On 'Divorce,' 'Sex,' And Her Own #MeToo Moments | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Sarah Jessica Parker On 'Divorce,' 'Sex,' And Her Own #MeToo Moments",
"datePublished": "2019-07-03T12:29:18-07:00",
"dateModified": "2019-07-03T12:55:43-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "sarah-jessica-parker-on-divorce-sex-and-her-own-metoo-moments",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=738328959&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Wed, 03 Jul 2019 12:27:06 -0400",
"nprLastModifiedDate": "Wed, 03 Jul 2019 12:39:20 -0400",
"nprHtmlLink": "https://www.npr.org/2019/07/03/738328959/sarah-jessica-parker-on-sex-divorce-marriage-and-metoo?ft=nprml&f=738328959",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/07/20190703_fa_01.mp3?orgId=427869011&topicId=1138&d=2232&p=13&story=738328959&ft=nprml&f=738328959",
"nprImageAgency": "HBO",
"nprAudioM3u": "http://api.npr.org/m3u/1738518935-ee888d.m3u?orgId=427869011&topicId=1138&d=2232&p=13&story=738328959&ft=nprml&f=738328959",
"nprStoryId": "738328959",
"nprByline": "Terry Gross",
"audioTrackLength": 2233,
"nprImageCredit": "Craig Blankenhorn",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 03 Jul 2019 13:43:00 -0400",
"path": "/pop/112650/sarah-jessica-parker-on-divorce-sex-and-her-own-metoo-moments",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/07/20190703_fa_01.mp3?orgId=427869011&topicId=1138&d=2232&p=13&story=738328959&ft=nprml&f=738328959",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sarah Jessica Parker has spent much of her acting career exploring what it means to be in a relationship—and to be single. In the HBO series\u003cem> Sex and the City\u003c/em>, which ran from 1998 until 2004, she played Carrie Bradshaw, a single writer chronicling her experiences with the Manhattan dating scene. Now, in the HBO comedy series, \u003cem>Divorce\u003c/em>, she stars as Frances, a mother of two navigating the dissolution of her marriage.\u003c/p>\n\u003cp>Currently in its third and final season, the series has followed Frances and her ex-husband, Robert (Thomas Haden Church), as they work through the details of divorce and custody—and their new, post-divorce relationships. Parker, who also serves as one of the show's executive producers, says the series aims to portray the \"smaller stories of divorce—the stories of divorce that are not accompanied by high-powered attorneys.\"\u003c/p>\n\u003cp>She describes Frances and Robert as \"people who find that they are terrible at divorce because they've never done it before, and they don't know how to be strategic.\"\u003c/p>\n\u003cp>Parker notes that while certain aspects of the show feel familiar—such as Frances' efforts to connect with her children—the dynamic between Frances and Robert feels \"very unrelated\" to her own, 22-year marriage to actor \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1139938\">Matthew Broderick\u003c/a>. \"The marriage stuff [in \u003cem>Divorce\u003c/em>] is fantastically, happily unfamiliar,\" she says.\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/ZVaIZ0cLM_s'\n title='//www.youtube.com/embed/ZVaIZ0cLM_s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On her own parents divorcing when she was around 2 years old\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I'm sort of mystified by how little trauma I feel about it. I can't pretend that it in any way sort of shaped my own feelings about marriage, or a relationship, or what I wanted to do specifically with this show. And that might be because my mother remarried fairly quickly, and my father had a relationship fairly soon after that. And a majority of my life these were two separate people. ... I knew them only as separate people, separate of one another.\u003c/p>\n\u003cp>\u003cstrong>On how her mom made sure she was exposed to the arts, even as her family struggled to make ends meet\u003c/strong>\u003c/p>\n\u003cp>[My mother] wanted us to be exposed to the arts. She wanted us to be readers. She wanted us to be curious. She wanted us to see everything we could see, hear everything we could hear, eat everything we could eat. She wanted us to feel that we were witnessing the unfamiliar. ...\u003c/p>\n\u003cp>We did receive free lunches at school. There were times that we existed with the help of many of those programs, but there was this wonderful period in the '70s where arts was also funded by our government and there were programs and tickets available for free or for a very small stipend. My mother is industrious and smart and was always aware of any opportunity that she could afford. And listen, there were all sorts of things we didn't have, but my mother felt those were not nearly as necessary as exposure to the arts. I mean, she really felt that your life was far more enriched by [arts] than a Barbie doll, or a television set, or air conditioning, or clothes that everybody else in your grade wore, or sneakers that were popular, or Popsicles. ...\u003c/p>\n\u003cp>I was very interested in all of it. That didn't mean that I always found the symphony the most dazzling place to be, and I'm sure there were many times that I had fantasies of being at my friends' house because they were watching maybe \u003cem>The Partridge Family\u003c/em> or \u003cem>The Brady Bunch\u003c/em> and eating sugar—a Hostess product. But I will say that when I was in the audience at the ballet or the theater, and occasionally at the philharmonic, I was engrossed and engaged ... like, transported—unquestionably, nowhere else I'd rather be. I loved the work. I loved the discipline.\u003c/p>\n\u003cp>\u003cstrong>On how ballet training helped her as an actor \u003c/strong>\u003c/p>\n\u003cp>[It] allowed me to be physical in my work—and that's not something everybody wants to do, or can do, or thinks of integrating. But I think even for \u003cem>L.A. Story,\u003c/em> I think being a dancer was helpful in sorting out that role. Especially because Steve Martin had written that part—and he was such a physical performer—I thought: Oh, well, I can be physical, because he might write imagining a physical performance as well. And even as Carrie Bradshaw [in S\u003cem>ex and the City\u003c/em>], running all the time, or moving around, finding ways to be physical in lots of things, [it] has been maybe something that I call upon.\u003c/p>\n\u003cp>\u003cstrong>On whether she related to the four women on \u003c/strong>\u003cem>\u003cstrong>Sex and the City \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I was really familiar with Candace Bushnell's column [upon which the series was based]. I had actually read the book when all those columns had been compiled into a book, from those \u003cem>New York Observer \u003c/em>columns. But those women, or the women that we eventually played, they were not women that I knew. ... They were sort of a different species to me, which was thrilling and completely intriguing. ...\u003c/p>\n\u003cp>I never went to clubs growing up, I always felt intimidated by the atmosphere, by the rope, by a guard, by someone asking my name, and how many were in my party. All of it seemed forbidding and I never felt cool enough, so I didn't do any of that. But I didn't feel it was necessary for me to understand what was being asked of me. I loved playing [Carrie] so much. I think we all love playing those characters so much, and we were consumed by work. I was working 18-, 20-hour days for years and years, until I had a child.\u003c/p>\n\u003cp>\u003cstrong>On how the \u003c/strong>\u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">\u003cstrong>#MeToo \u003c/strong>\u003c/a>\u003cstrong>movement made her reassess experiences she's had with men in her career \u003c/strong>\u003c/p>\n\u003cp>It really wasn't, I would say, until about six or eight months ago that I started recognizing countless experiences of men behaving poorly, inappropriately, and all the ways that I had made it possible to keep coming to work or to remain on set, or to simply ... just push it down, push it away, find a little space for it and move on. ...\u003c/p>\n\u003cp>[I] really just didn't allow it to consume me. To be honest, I don't know why I either wasn't courageous or more destroyed by some of the things that I was privy to, that I was on the receiving end of.\u003c/p>\n\u003cp>\u003cstrong>On how she handled working with a big movie star who was behaving inappropriately \u003c/strong>\u003c/p>\n\u003cp>I think no matter how evolved or how modern I thought I was ... I didn't feel entirely in a position—no matter what my role was on set—I didn't feel as powerful as the man who was behaving inappropriately, which ... strikes me as just stunning to say out loud, because there were plenty of occasions where it was happening and I was in a different position and I was as powerful. I mean, I had every right to say, \"This is inappropriate.\" I could have felt safe in going to a superior.\u003c/p>\n\u003cp>And, in fact, I will say, when there was a situation with somebody and I\u003cem> did\u003c/em> go to my agent—because I felt I was no longer able to convey how uncomfortable this was making me, how inappropriate it was ... within hours everything had changed. ... He said to them, \"If this continues, I have sent her a ticket, a one-way ticket out of this city\"—where I was shooting—\"and she will not be returning.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Mooj Zadie produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sarah+Jessica+Parker+On+%27Sex%2C%27+%27Divorce%2C%27+Marriage+And+%23MeToo&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/112650/sarah-jessica-parker-on-divorce-sex-and-her-own-metoo-moments",
"authors": [
"byline_pop_112650"
],
"categories": [
"pop_3"
],
"tags": [
"pop_3740",
"pop_271",
"pop_3741",
"pop_3126",
"pop_3151",
"pop_3742"
],
"featImg": "pop_112654",
"label": "pop"
},
"pop_112407": {
"type": "posts",
"id": "pop_112407",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "112407",
"score": null,
"sort": [
1561405531000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1561405531,
"format": "standard",
"disqusTitle": "'Euphoria' Is Great—But It Does A Disservice To Gen Z Teens Too",
"title": "'Euphoria' Is Great—But It Does A Disservice To Gen Z Teens Too",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>In many ways, HBO's \u003cem>Euphoria\u003c/em> perfectly captures the anxieties, the concerns and the general discomfort of being a Gen Z teenager. Getting through high school one lockdown at a time, navigating sex in an age when kids have more access to porn than ever before, wondering if the new boy in school is a mass shooter or \u003ca href=\"https://www.vox.com/the-highlight/2019/4/16/18287446/incel-definition-reddit\">incel\u003c/a>—the first two episodes beautifully capture the stress and foreboding quality of it all. Unfortunately, \u003cem>Euphoria\u003c/em> also frequently and willfully goes out of its way to misrepresent teen life in 2019, adding a self-consciously messy layer intended to shock, rather than reflect reality. [aside postid='pop_95643']\u003c/p>\n\u003cp>\u003cem>Euphoria\u003c/em> is a show that follows the example of prior generations' more extreme movies about adolescence—think \u003ca href=\"https://www.imdb.com/title/tt0093407/?ref_=fn_al_tt_1\">\u003cem>Less Than Zero\u003c/em>\u003c/a>, \u003ca href=\"https://www.imdb.com/title/tt0113540/?ref_=fn_al_tt_1\">\u003cem>Kids\u003c/em>\u003c/a>, \u003ca href=\"https://www.imdb.com/title/tt0328538/?ref_=nm_knf_t1\">\u003cem>Thirteen\u003c/em>\u003c/a>—without factoring in how much better behaved kids are now in comparison to Generation X, Baby Boomers and even Millennials. Teens now have \u003ca href=\"https://www.businessinsider.com/generation-z-sex-alcohol-driving-study-2017-9\">sex less, do drugs less, try alcohol later\u003c/a> and go out less than any other teens in modern history—yet the 17-year-olds in \u003cem>Euphoria\u003c/em> are presented as doing almost nothing else.\u003c/p>\n\u003cp>It's not just that teens are less likely to abuse drugs now, it's that when they do, the drugs are different from those of prior generations. The way the show handles new \u003ca href=\"https://www.kqed.org/pop/107245/celebrity-fentanyl-use-isnt-rooted-in-hedonism-its-desperation\">fears around fentanyl\u003c/a> in the second episode is a stroke of brilliance, but watching Rue (\u003ca href=\"https://www.kqed.org/pop/95643/how-oaklands-zendaya-became-the-most-woke-disney-star-ever\">Zendaya\u003c/a>) doing lines of coke at every opportunity feels out of place and dated. If the show had stuck to her merely stealing prescription pills out of bathroom cabinets or oxycontin from her sick father, it would have made more sense both in terms of the drugs Americans are most likely to abuse today and the financial constraints of being a jobless teen from a single-parent household.\u003c/p>\n\u003cp>Even factoring that in, the rates of high school seniors abusing pain medication has been \u003ca href=\"https://www.hhs.gov/ash/oah/adolescent-development/substance-use/drugs/opioids/index.html\">steadily dropping\u003c/a> since 2004, when it peaked at 9.4 percent. In 2018, it was just 3.4 percent, and CDC research shows a consistent drop in drug use across the board.\u003c/p>\n\u003cfigure id=\"attachment_112438\" class=\"wp-caption alignnone\" style=\"max-width: 690px\">\u003cimg class=\"size-full wp-image-112438\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-11.49.32-AM.png\" alt=\"The rate of drug use in teens has been dropping since the 1990s.\" width=\"690\" height=\"273\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-11.49.32-AM.png 690w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-11.49.32-AM-160x63.png 160w\" sizes=\"(max-width: 690px) 100vw, 690px\">\u003cfigcaption class=\"wp-caption-text\">The rate of drug use in teens has been dropping since the 1990s. \u003ccite>(CDC.gov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Euphoria\u003c/em>'s creator, Sam Levinson, has talked openly about the fact that Rue's character is based on his own experience as a drug-dependent teen. \"I spent the majority of my teenage years in hospitals, rehabs and halfway houses,” \u003ca href=\"https://variety.com/2019/scene/news/euphoria-creator-sam-levinson-opens-up-drug-addiction-1203233881/\">Levinson said\u003c/a> at the show's Hollywood premiere. “Sometime around the age of 16, I resigned myself to the idea that eventually drugs would kill me and there was no reason to fight it.” It seems that by putting so much of himself into the character of Rue, Levinson—who had his own drug problem in the late '90s and early-aughts—has accidentally dated her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The same can be said for \u003cem>Euphoria\u003c/em>'s treatment of teen sex. At one point, Jules—a transgender girl played superbly by Hunter Schafer—finds out that classmate Kat is still a virgin and blurts out, \"Bitch, this isn't the '80s! You need to catch a d**k!\" But for almost 20 years now, the number of teens having sex has been \u003ca href=\"https://www.kqed.org/pop/110884/new-sexting-system-slutbot-is-a-real-life-black-mirror-episode-waiting-to-happen\">dropping, not increasing\u003c/a>. High school kids in the '80s went on 30% more dates than 2015 students and lost their virginity a year earlier. Today, 18 to 24-year-olds have less sex than 50-somethings. Presenting 2019 teens as the most sexually promiscuous generation ever is an outright falsehood.\u003c/p>\n\u003cfigure id=\"attachment_112444\" class=\"wp-caption alignnone\" style=\"max-width: 688px\">\u003cimg class=\"size-full wp-image-112444\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-2.47.25-PM.png\" alt=\"Figures from the CDC regarding sexual activity amongst high school students.\" width=\"688\" height=\"433\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-2.47.25-PM.png 688w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-2.47.25-PM-160x101.png 160w\" sizes=\"(max-width: 688px) 100vw, 688px\">\u003cfigcaption class=\"wp-caption-text\">Figures from the CDC regarding sexual activity amongst high school students. \u003ccite>(CDC.gov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It's a shame \u003cem>Euphoria\u003c/em> gets these important details so wrong when some of the toughest sexual issues facing Gen Z are handled astoundingly well, like Nate's inherited toxic masculinity and homophobia; Cassie being slut-shamed by Chris one minute and pressured into texting him nudes the next; and Kat being secretly filmed during sex. One incredible voiceover from Rue in the premiere explains that nude photos are 2019's \"currency of love,\" and asks adults to \"stop shaming us—shame the assholes who create password-protected online directories of naked underage girls.\" (Sadly, even that moment is almost ruined by a section in the middle where she says: \"I’m sorry—I know your generation relied on flowers and father’s permission...\" Is she talking to her great-grandparents here?)\u003c/p>\n\u003cp>In much the same way that \u003ca href=\"https://www.kqed.org/pop/103934/dear-13-reasons-why-tattoos-and-self-harm-arent-interchangeable\">\u003cem>13 Reasons Why\u003c/em>\u003c/a> abandoned any degree of subtlety in its second season and tacked on a heroin addiction side-plot, it is when \u003cem>Euphoria\u003c/em> actively tries to shock viewers that it becomes least powerful. \u003cem>Grown-ish—\u003c/em>generally considered a comedy\u003cem>—\u003c/em>has in some ways done a better job of depicting realistic teen drug use. As Zoey Johnson casually pops illegally-acquired Adderall to get through her college workload, the show refuses to pass judgment on her or her drug-dealing friend Vivek. There is no big dramatic scene where she realizes the error of her ways, and the two are never portrayed as particularly in danger. That commonplace handling of Zoey's pill problem feels far more meaningful than watching Rue buying drugs from a pre-teen with face tattoos. [aside postid='arts_13891785']\u003c/p>\n\u003cp>Zendaya told \u003cem>Entertainment Weekly\u003c/em> that \u003cem>Euphoria\u003c/em>'s first episode is \"\u003ca href=\"https://ew.com/tv/2019/06/16/zendaya-hbo-euphoria-premiere-interview/\">the most mild,\u003c/a>\" which suggests the show is going to keep trying to one-up itself. That's a shame, given that, in the moments it's actively trying to scare parents, the show loses touch with the very people it's supposed to be representing. Of course, there will always be teens who are drug addicts, or who have sex in swimming pools at parties, or who have violent compulsions, but where \u003cem>Euphoria\u003c/em> fails is in its depiction of \u003cem>all\u003c/em> high schoolers behaving that way. Lexi is the only one in the bunch so far who seems even vaguely average—and even she's still willing to give Rue her urine to cheat drug tests.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As \u003cem>Euphoria\u003c/em> acknowledges in its finer moments, Generation Z has an entirely new set of problems than any generation that has come before. If the rest of the season could focus more intently on those, rather than muddying the waters with exaggerated depictions of sex and drugs, it would be infinitely more impactful.\u003c/p>\n\n",
"disqusIdentifier": "112407 https://ww2.kqed.org/pop/?p=112407",
"disqusUrl": "https://ww2.kqed.org/pop/2019/06/24/euphoria-is-great-but-it-does-a-disservice-to-gen-z-teens-too/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1080,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1611723944,
"excerpt": "'Euphoria' presents 2019 teenagers as the most over-sexed and drug-addicted in history. In reality, the opposite is true. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'Euphoria' presents 2019 teenagers as the most over-sexed and drug-addicted in history. In reality, the opposite is true. ",
"title": "'Euphoria' Is Great—But It Does A Disservice To Gen Z Teens Too - KQED Pop",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Euphoria' Is Great—But It Does A Disservice To Gen Z Teens Too",
"datePublished": "2019-06-24T12:45:31-07:00",
"dateModified": "2021-01-26T21:05:44-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "euphoria-is-great-but-it-does-a-disservice-to-gen-z-teens-too",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"path": "/pop/112407/euphoria-is-great-but-it-does-a-disservice-to-gen-z-teens-too",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In many ways, HBO's \u003cem>Euphoria\u003c/em> perfectly captures the anxieties, the concerns and the general discomfort of being a Gen Z teenager. Getting through high school one lockdown at a time, navigating sex in an age when kids have more access to porn than ever before, wondering if the new boy in school is a mass shooter or \u003ca href=\"https://www.vox.com/the-highlight/2019/4/16/18287446/incel-definition-reddit\">incel\u003c/a>—the first two episodes beautifully capture the stress and foreboding quality of it all. Unfortunately, \u003cem>Euphoria\u003c/em> also frequently and willfully goes out of its way to misrepresent teen life in 2019, adding a self-consciously messy layer intended to shock, rather than reflect reality. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_95643",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Euphoria\u003c/em> is a show that follows the example of prior generations' more extreme movies about adolescence—think \u003ca href=\"https://www.imdb.com/title/tt0093407/?ref_=fn_al_tt_1\">\u003cem>Less Than Zero\u003c/em>\u003c/a>, \u003ca href=\"https://www.imdb.com/title/tt0113540/?ref_=fn_al_tt_1\">\u003cem>Kids\u003c/em>\u003c/a>, \u003ca href=\"https://www.imdb.com/title/tt0328538/?ref_=nm_knf_t1\">\u003cem>Thirteen\u003c/em>\u003c/a>—without factoring in how much better behaved kids are now in comparison to Generation X, Baby Boomers and even Millennials. Teens now have \u003ca href=\"https://www.businessinsider.com/generation-z-sex-alcohol-driving-study-2017-9\">sex less, do drugs less, try alcohol later\u003c/a> and go out less than any other teens in modern history—yet the 17-year-olds in \u003cem>Euphoria\u003c/em> are presented as doing almost nothing else.\u003c/p>\n\u003cp>It's not just that teens are less likely to abuse drugs now, it's that when they do, the drugs are different from those of prior generations. The way the show handles new \u003ca href=\"https://www.kqed.org/pop/107245/celebrity-fentanyl-use-isnt-rooted-in-hedonism-its-desperation\">fears around fentanyl\u003c/a> in the second episode is a stroke of brilliance, but watching Rue (\u003ca href=\"https://www.kqed.org/pop/95643/how-oaklands-zendaya-became-the-most-woke-disney-star-ever\">Zendaya\u003c/a>) doing lines of coke at every opportunity feels out of place and dated. If the show had stuck to her merely stealing prescription pills out of bathroom cabinets or oxycontin from her sick father, it would have made more sense both in terms of the drugs Americans are most likely to abuse today and the financial constraints of being a jobless teen from a single-parent household.\u003c/p>\n\u003cp>Even factoring that in, the rates of high school seniors abusing pain medication has been \u003ca href=\"https://www.hhs.gov/ash/oah/adolescent-development/substance-use/drugs/opioids/index.html\">steadily dropping\u003c/a> since 2004, when it peaked at 9.4 percent. In 2018, it was just 3.4 percent, and CDC research shows a consistent drop in drug use across the board.\u003c/p>\n\u003cfigure id=\"attachment_112438\" class=\"wp-caption alignnone\" style=\"max-width: 690px\">\u003cimg class=\"size-full wp-image-112438\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-11.49.32-AM.png\" alt=\"The rate of drug use in teens has been dropping since the 1990s.\" width=\"690\" height=\"273\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-11.49.32-AM.png 690w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-11.49.32-AM-160x63.png 160w\" sizes=\"(max-width: 690px) 100vw, 690px\">\u003cfigcaption class=\"wp-caption-text\">The rate of drug use in teens has been dropping since the 1990s. \u003ccite>(CDC.gov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Euphoria\u003c/em>'s creator, Sam Levinson, has talked openly about the fact that Rue's character is based on his own experience as a drug-dependent teen. \"I spent the majority of my teenage years in hospitals, rehabs and halfway houses,” \u003ca href=\"https://variety.com/2019/scene/news/euphoria-creator-sam-levinson-opens-up-drug-addiction-1203233881/\">Levinson said\u003c/a> at the show's Hollywood premiere. “Sometime around the age of 16, I resigned myself to the idea that eventually drugs would kill me and there was no reason to fight it.” It seems that by putting so much of himself into the character of Rue, Levinson—who had his own drug problem in the late '90s and early-aughts—has accidentally dated her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The same can be said for \u003cem>Euphoria\u003c/em>'s treatment of teen sex. At one point, Jules—a transgender girl played superbly by Hunter Schafer—finds out that classmate Kat is still a virgin and blurts out, \"Bitch, this isn't the '80s! You need to catch a d**k!\" But for almost 20 years now, the number of teens having sex has been \u003ca href=\"https://www.kqed.org/pop/110884/new-sexting-system-slutbot-is-a-real-life-black-mirror-episode-waiting-to-happen\">dropping, not increasing\u003c/a>. High school kids in the '80s went on 30% more dates than 2015 students and lost their virginity a year earlier. Today, 18 to 24-year-olds have less sex than 50-somethings. Presenting 2019 teens as the most sexually promiscuous generation ever is an outright falsehood.\u003c/p>\n\u003cfigure id=\"attachment_112444\" class=\"wp-caption alignnone\" style=\"max-width: 688px\">\u003cimg class=\"size-full wp-image-112444\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-2.47.25-PM.png\" alt=\"Figures from the CDC regarding sexual activity amongst high school students.\" width=\"688\" height=\"433\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-2.47.25-PM.png 688w, https://ww2.kqed.org/app/uploads/sites/12/2019/06/Screen-Shot-2019-06-18-at-2.47.25-PM-160x101.png 160w\" sizes=\"(max-width: 688px) 100vw, 688px\">\u003cfigcaption class=\"wp-caption-text\">Figures from the CDC regarding sexual activity amongst high school students. \u003ccite>(CDC.gov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It's a shame \u003cem>Euphoria\u003c/em> gets these important details so wrong when some of the toughest sexual issues facing Gen Z are handled astoundingly well, like Nate's inherited toxic masculinity and homophobia; Cassie being slut-shamed by Chris one minute and pressured into texting him nudes the next; and Kat being secretly filmed during sex. One incredible voiceover from Rue in the premiere explains that nude photos are 2019's \"currency of love,\" and asks adults to \"stop shaming us—shame the assholes who create password-protected online directories of naked underage girls.\" (Sadly, even that moment is almost ruined by a section in the middle where she says: \"I’m sorry—I know your generation relied on flowers and father’s permission...\" Is she talking to her great-grandparents here?)\u003c/p>\n\u003cp>In much the same way that \u003ca href=\"https://www.kqed.org/pop/103934/dear-13-reasons-why-tattoos-and-self-harm-arent-interchangeable\">\u003cem>13 Reasons Why\u003c/em>\u003c/a> abandoned any degree of subtlety in its second season and tacked on a heroin addiction side-plot, it is when \u003cem>Euphoria\u003c/em> actively tries to shock viewers that it becomes least powerful. \u003cem>Grown-ish—\u003c/em>generally considered a comedy\u003cem>—\u003c/em>has in some ways done a better job of depicting realistic teen drug use. As Zoey Johnson casually pops illegally-acquired Adderall to get through her college workload, the show refuses to pass judgment on her or her drug-dealing friend Vivek. There is no big dramatic scene where she realizes the error of her ways, and the two are never portrayed as particularly in danger. That commonplace handling of Zoey's pill problem feels far more meaningful than watching Rue buying drugs from a pre-teen with face tattoos. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13891785",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Zendaya told \u003cem>Entertainment Weekly\u003c/em> that \u003cem>Euphoria\u003c/em>'s first episode is \"\u003ca href=\"https://ew.com/tv/2019/06/16/zendaya-hbo-euphoria-premiere-interview/\">the most mild,\u003c/a>\" which suggests the show is going to keep trying to one-up itself. That's a shame, given that, in the moments it's actively trying to scare parents, the show loses touch with the very people it's supposed to be representing. Of course, there will always be teens who are drug addicts, or who have sex in swimming pools at parties, or who have violent compulsions, but where \u003cem>Euphoria\u003c/em> fails is in its depiction of \u003cem>all\u003c/em> high schoolers behaving that way. Lexi is the only one in the bunch so far who seems even vaguely average—and even she's still willing to give Rue her urine to cheat drug tests.\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>As \u003cem>Euphoria\u003c/em> acknowledges in its finer moments, Generation Z has an entirely new set of problems than any generation that has come before. If the rest of the season could focus more intently on those, rather than muddying the waters with exaggerated depictions of sex and drugs, it would be infinitely more impactful.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/112407/euphoria-is-great-but-it-does-a-disservice-to-gen-z-teens-too",
"authors": [
"11242"
],
"categories": [
"pop_3"
],
"tags": [
"pop_3717",
"pop_3341",
"pop_271",
"pop_585"
],
"featImg": "pop_112410",
"label": "pop"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/pop?category=tv": {
"isFetching": false,
"latestQuery": {
"from": 0,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 629,
"relation": "eq"
},
"items": [
"pop_113084",
"pop_113026",
"pop_112909",
"pop_112889",
"pop_112859",
"pop_112827",
"pop_112467",
"pop_112725",
"pop_112690",
"pop_112681",
"pop_112650",
"pop_112407"
],
"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"
},
"pop_category_tv": {
"isLoading": true
},
"pop_3": {
"type": "terms",
"id": "pop_3",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3",
"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": 3,
"slug": "tv",
"isLoading": false,
"link": "/pop/category/tv"
},
"pop_5": {
"type": "terms",
"id": "pop_5",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "5",
"found": true
},
"relationships": {},
"featImg": null,
"name": "The Internet",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The Internet Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5,
"slug": "theinternet",
"isLoading": false,
"link": "/pop/category/theinternet"
},
"pop_3686": {
"type": "terms",
"id": "pop_3686",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3686",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Antoni Porowski",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Antoni Porowski Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3686,
"slug": "antoni-porowski",
"isLoading": false,
"link": "/pop/tag/antoni-porowski"
},
"pop_3807": {
"type": "terms",
"id": "pop_3807",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3807",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Bobby Berk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Bobby Berk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3807,
"slug": "bobby-berk",
"isLoading": false,
"link": "/pop/tag/bobby-berk"
},
"pop_3341": {
"type": "terms",
"id": "pop_3341",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3341",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3341,
"slug": "featured",
"isLoading": false,
"link": "/pop/tag/featured"
},
"pop_3177": {
"type": "terms",
"id": "pop_3177",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3177",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Jonathan Van Ness",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Jonathan Van Ness Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3177,
"slug": "jonathan-van-ness",
"isLoading": false,
"link": "/pop/tag/jonathan-van-ness"
},
"pop_3808": {
"type": "terms",
"id": "pop_3808",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3808",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Karamo Brown",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Karamo Brown Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3808,
"slug": "karamo-brown",
"isLoading": false,
"link": "/pop/tag/karamo-brown"
},
"pop_438": {
"type": "terms",
"id": "pop_438",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "438",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Netflix",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Netflix Archives | KQED Arts",
"ogDescription": null
},
"ttid": 438,
"slug": "netflix",
"isLoading": false,
"link": "/pop/tag/netflix"
},
"pop_3147": {
"type": "terms",
"id": "pop_3147",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3147",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Queer Eye",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Queer Eye Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3147,
"slug": "queer-eye",
"isLoading": false,
"link": "/pop/tag/queer-eye"
},
"pop_3681": {
"type": "terms",
"id": "pop_3681",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3681",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Tan France",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Tan France Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3681,
"slug": "tan-france",
"isLoading": false,
"link": "/pop/tag/tan-france"
},
"pop_245": {
"type": "terms",
"id": "pop_245",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "245",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Twitter",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Twitter Archives | KQED Arts",
"ogDescription": null
},
"ttid": 245,
"slug": "twitter",
"isLoading": false,
"link": "/pop/tag/twitter"
},
"pop_3795": {
"type": "terms",
"id": "pop_3795",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3795",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Making It",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Making It Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3795,
"slug": "making-it",
"isLoading": false,
"link": "/pop/tag/making-it"
},
"pop_3796": {
"type": "terms",
"id": "pop_3796",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3796",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Marie Kondo",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Marie Kondo Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3796,
"slug": "marie-kondo",
"isLoading": false,
"link": "/pop/tag/marie-kondo"
},
"pop_88": {
"type": "terms",
"id": "pop_88",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "88",
"found": true
},
"relationships": {},
"featImg": null,
"name": "NBC",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NBC Archives | KQED Arts",
"ogDescription": null
},
"ttid": 88,
"slug": "nbc",
"isLoading": false,
"link": "/pop/tag/nbc"
},
"pop_54": {
"type": "terms",
"id": "pop_54",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "54",
"found": true
},
"relationships": {},
"featImg": null,
"name": "reality shows",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "reality shows Archives | KQED Arts",
"ogDescription": null
},
"ttid": 54,
"slug": "reality-shows",
"isLoading": false,
"link": "/pop/tag/reality-shows"
},
"pop_280": {
"type": "terms",
"id": "pop_280",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "280",
"found": true
},
"relationships": {},
"featImg": null,
"name": "reality TV",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "reality TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 280,
"slug": "reality-tv",
"isLoading": false,
"link": "/pop/tag/reality-tv"
},
"pop_1645": {
"type": "terms",
"id": "pop_1645",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "1645",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comic Con",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comic Con Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1650,
"slug": "comic-con",
"isLoading": false,
"link": "/pop/tag/comic-con"
},
"pop_271": {
"type": "terms",
"id": "pop_271",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "271",
"found": true
},
"relationships": {},
"featImg": null,
"name": "HBO",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "HBO Archives | KQED Arts",
"ogDescription": null
},
"ttid": 271,
"slug": "hbo",
"isLoading": false,
"link": "/pop/tag/hbo"
},
"pop_533": {
"type": "terms",
"id": "pop_533",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "533",
"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": 533,
"slug": "hulu",
"isLoading": false,
"link": "/pop/tag/hulu"
},
"pop_3111": {
"type": "terms",
"id": "pop_3111",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3111",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Kristen Bell",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Kristen Bell Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3111,
"slug": "kristen-bell",
"isLoading": false,
"link": "/pop/tag/kristen-bell"
},
"pop_3782": {
"type": "terms",
"id": "pop_3782",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3782",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Veronica Mars",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Veronica Mars Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3782,
"slug": "veronica-mars",
"isLoading": false,
"link": "/pop/tag/veronica-mars"
},
"pop_16": {
"type": "terms",
"id": "pop_16",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "16",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comedy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 16,
"slug": "comedy",
"isLoading": false,
"link": "/pop/tag/comedy"
},
"pop_3781": {
"type": "terms",
"id": "pop_3781",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3781",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Family Reunion",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Family Reunion Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3781,
"slug": "family-reunion",
"isLoading": false,
"link": "/pop/tag/family-reunion"
},
"pop_1310": {
"type": "terms",
"id": "pop_1310",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "1310",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sitcoms",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sitcoms Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1312,
"slug": "sitcoms",
"isLoading": false,
"link": "/pop/tag/sitcoms"
},
"pop_3053": {
"type": "terms",
"id": "pop_3053",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3053",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Cartoon Network",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Cartoon Network Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3053,
"slug": "cartoon-network",
"isLoading": false,
"link": "/pop/tag/cartoon-network"
},
"pop_3775": {
"type": "terms",
"id": "pop_3775",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3775",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Coco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Coco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3775,
"slug": "coco",
"isLoading": false,
"link": "/pop/tag/coco"
},
"pop_2820": {
"type": "terms",
"id": "pop_2820",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "2820",
"found": true
},
"relationships": {},
"featImg": null,
"name": "disney",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "disney Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2820,
"slug": "disney",
"isLoading": false,
"link": "/pop/tag/disney"
},
"pop_3774": {
"type": "terms",
"id": "pop_3774",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3774",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Moana",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Moana Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3774,
"slug": "moana",
"isLoading": false,
"link": "/pop/tag/moana"
},
"pop_3770": {
"type": "terms",
"id": "pop_3770",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3770",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Molly of Denali",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Molly of Denali Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3770,
"slug": "molly-of-denali",
"isLoading": false,
"link": "/pop/tag/molly-of-denali"
},
"pop_3771": {
"type": "terms",
"id": "pop_3771",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3771",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pachamama",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pachamama Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3771,
"slug": "pachamama",
"isLoading": false,
"link": "/pop/tag/pachamama"
},
"pop_229": {
"type": "terms",
"id": "pop_229",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "229",
"found": true
},
"relationships": {},
"featImg": null,
"name": "PBS",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "PBS Archives | KQED Arts",
"ogDescription": null
},
"ttid": 229,
"slug": "pbs",
"isLoading": false,
"link": "/pop/tag/pbs"
},
"pop_3773": {
"type": "terms",
"id": "pop_3773",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3773",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pocahontas",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pocahontas Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3773,
"slug": "pocahontas",
"isLoading": false,
"link": "/pop/tag/pocahontas"
},
"pop_3772": {
"type": "terms",
"id": "pop_3772",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3772",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Victor and Valentino",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Victor and Valentino Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3772,
"slug": "victor-and-valentino",
"isLoading": false,
"link": "/pop/tag/victor-and-valentino"
},
"pop_3221": {
"type": "terms",
"id": "pop_3221",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3221",
"found": true
},
"relationships": {},
"featImg": null,
"name": "13 Reasons Why",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "13 Reasons Why Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3221,
"slug": "13-reasons-why",
"isLoading": false,
"link": "/pop/tag/13-reasons-why"
},
"pop_643": {
"type": "terms",
"id": "pop_643",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "643",
"found": true
},
"relationships": {},
"featImg": null,
"name": "mental health",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "mental health Archives | KQED Arts",
"ogDescription": null
},
"ttid": 644,
"slug": "mental-health",
"isLoading": false,
"link": "/pop/tag/mental-health"
},
"pop_1145": {
"type": "terms",
"id": "pop_1145",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "1145",
"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": 1146,
"slug": "1980s",
"isLoading": false,
"link": "/pop/tag/1980s"
},
"pop_646": {
"type": "terms",
"id": "pop_646",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "646",
"found": true
},
"relationships": {},
"featImg": null,
"name": "1990s",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "1990s Archives | KQED Arts",
"ogDescription": null
},
"ttid": 647,
"slug": "1990s",
"isLoading": false,
"link": "/pop/tag/1990s"
},
"pop_3728": {
"type": "terms",
"id": "pop_3728",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3728",
"found": true
},
"relationships": {},
"featImg": null,
"name": "clowns",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "clowns Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3728,
"slug": "clowns",
"isLoading": false,
"link": "/pop/tag/clowns"
},
"pop_100": {
"type": "terms",
"id": "pop_100",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "100",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Commercials",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Commercials Archives | KQED Arts",
"ogDescription": null
},
"ttid": 100,
"slug": "commercials",
"isLoading": false,
"link": "/pop/tag/commercials"
},
"pop_3538": {
"type": "terms",
"id": "pop_3538",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3538",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dolls",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "dolls Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3538,
"slug": "dolls",
"isLoading": false,
"link": "/pop/tag/dolls"
},
"pop_3087": {
"type": "terms",
"id": "pop_3087",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3087",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dynasty",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "dynasty Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3087,
"slug": "dynasty",
"isLoading": false,
"link": "/pop/tag/dynasty"
},
"pop_3727": {
"type": "terms",
"id": "pop_3727",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3727",
"found": true
},
"relationships": {},
"featImg": null,
"name": "It",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "It Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3727,
"slug": "it",
"isLoading": false,
"link": "/pop/tag/it"
},
"pop_3726": {
"type": "terms",
"id": "pop_3726",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3726",
"found": true
},
"relationships": {},
"featImg": null,
"name": "six flags",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "six flags Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3726,
"slug": "six-flags",
"isLoading": false,
"link": "/pop/tag/six-flags"
},
"pop_3289": {
"type": "terms",
"id": "pop_3289",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3289",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Stephen King",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Stephen King Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3289,
"slug": "stephen-king",
"isLoading": false,
"link": "/pop/tag/stephen-king"
},
"pop_3439": {
"type": "terms",
"id": "pop_3439",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3439",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the twilight zone",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the twilight zone Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3439,
"slug": "the-twilight-zone",
"isLoading": false,
"link": "/pop/tag/the-twilight-zone"
},
"pop_3128": {
"type": "terms",
"id": "pop_3128",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3128",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Aziz Ansari",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Aziz Ansari Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3128,
"slug": "aziz-ansari",
"isLoading": false,
"link": "/pop/tag/aziz-ansari"
},
"pop_3126": {
"type": "terms",
"id": "pop_3126",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3126",
"found": true
},
"relationships": {},
"featImg": null,
"name": "MeToo",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "MeToo Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3126,
"slug": "metoo",
"isLoading": false,
"link": "/pop/tag/metoo"
},
"pop_3745": {
"type": "terms",
"id": "pop_3745",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3745",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Angela Bassett",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Angela Bassett Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3745,
"slug": "angela-bassett",
"isLoading": false,
"link": "/pop/tag/angela-bassett"
},
"pop_3749": {
"type": "terms",
"id": "pop_3749",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3749",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Ashley Nicole Black",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Ashley Nicole Black Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3749,
"slug": "ashley-nicole-black",
"isLoading": false,
"link": "/pop/tag/ashley-nicole-black"
},
"pop_3748": {
"type": "terms",
"id": "pop_3748",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3748",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Gabrielle Dennis",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Gabrielle Dennis Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3748,
"slug": "gabrielle-dennis",
"isLoading": false,
"link": "/pop/tag/gabrielle-dennis"
},
"pop_2915": {
"type": "terms",
"id": "pop_2915",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "2915",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Issa Rae",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Issa Rae Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2915,
"slug": "issa-rae",
"isLoading": false,
"link": "/pop/tag/issa-rae"
},
"pop_3746": {
"type": "terms",
"id": "pop_3746",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Laverne Cox",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Laverne Cox Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3746,
"slug": "laverne-cox",
"isLoading": false,
"link": "/pop/tag/laverne-cox"
},
"pop_3744": {
"type": "terms",
"id": "pop_3744",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3744",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Lena Waithe",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Lena Waithe Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3744,
"slug": "lena-waithe",
"isLoading": false,
"link": "/pop/tag/lena-waithe"
},
"pop_3750": {
"type": "terms",
"id": "pop_3750",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3750",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Quinta Brunson",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Quinta Brunson Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3750,
"slug": "quinta-brunson",
"isLoading": false,
"link": "/pop/tag/quinta-brunson"
},
"pop_3743": {
"type": "terms",
"id": "pop_3743",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3743",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Robin Thede",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Robin Thede Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3743,
"slug": "robin-thede",
"isLoading": false,
"link": "/pop/tag/robin-thede"
},
"pop_3751": {
"type": "terms",
"id": "pop_3751",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3751",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Samantha Bee",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Samantha Bee Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3751,
"slug": "samantha-bee",
"isLoading": false,
"link": "/pop/tag/samantha-bee"
},
"pop_3747": {
"type": "terms",
"id": "pop_3747",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3747",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Yvette Nicole Brown",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Yvette Nicole Brown Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3747,
"slug": "yvette-nicole-brown",
"isLoading": false,
"link": "/pop/tag/yvette-nicole-brown"
},
"pop_2894": {
"type": "terms",
"id": "pop_2894",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "2894",
"found": true
},
"relationships": {},
"featImg": null,
"name": "stranger things",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "stranger things Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2894,
"slug": "stranger-things",
"isLoading": false,
"link": "/pop/tag/stranger-things"
},
"pop_3740": {
"type": "terms",
"id": "pop_3740",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3740",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Divorce",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Divorce Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3740,
"slug": "divorce",
"isLoading": false,
"link": "/pop/tag/divorce"
},
"pop_3741": {
"type": "terms",
"id": "pop_3741",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3741",
"found": true
},
"relationships": {},
"featImg": null,
"name": "LA Story",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "LA Story Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3741,
"slug": "la-story",
"isLoading": false,
"link": "/pop/tag/la-story"
},
"pop_3151": {
"type": "terms",
"id": "pop_3151",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3151",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Sex and the City",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Sex and the City Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3151,
"slug": "sex-and-the-city",
"isLoading": false,
"link": "/pop/tag/sex-and-the-city"
},
"pop_3742": {
"type": "terms",
"id": "pop_3742",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3742",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Steve Martin",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Steve Martin Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3742,
"slug": "steve-martin",
"isLoading": false,
"link": "/pop/tag/steve-martin"
},
"pop_3717": {
"type": "terms",
"id": "pop_3717",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3717",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Euphoria",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Euphoria Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3717,
"slug": "euphoria",
"isLoading": false,
"link": "/pop/tag/euphoria"
},
"pop_585": {
"type": "terms",
"id": "pop_585",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Zendaya",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Zendaya Archives | KQED Arts",
"ogDescription": null
},
"ttid": 586,
"slug": "zendaya",
"isLoading": false,
"link": "/pop/tag/zendaya"
}
},
"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
}
}
