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We focus on local, national and international experiences with a Bay Area lens. We don’t do reviews.","avatar":"https://secure.gravatar.com/avatar/8ebc28ae67b943d4a4279cb0f9222792?s=600&d=blank&r=g","twitter":"KQEDpop","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]},{"site":"pop","roles":["contributor"]}],"headData":{"title":"KQED Pop | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/8ebc28ae67b943d4a4279cb0f9222792?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/8ebc28ae67b943d4a4279cb0f9222792?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/kqedpop"},"ralexandra":{"type":"authors","id":"11242","meta":{"index":"authors_1591205172","id":"11242","found":true},"name":"Rae Alexandra","firstName":"Rae","lastName":"Alexandra","slug":"ralexandra","email":"ralexandra@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Staff Writer","bio":"Rae Alexandra is Staff Writer 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. Born and raised in Wales, she started her career in London, as a music journalist for uproarious rock ’n’ roll magazine, \u003cem>\u003ca href=\"https://www.kerrang.com/features/an-oral-history-of-alternative-tentacles-40-years-of-keeping-punk-alive/\">Kerrang!\u003c/a>\u003c/em>. In America, she got her start at alt-weeklies including \u003ca href=\"https://archives.sfweekly.com/sanfrancisco/ArticleArchives?author=2127078&excludeCategoryType=Blog\">\u003cem>SF Weekly\u003c/em>\u003c/a> and the \u003ca href=\"https://www.villagevoice.com/author/raealexandra/\">\u003cem>Village Voice\u003c/em>\u003c/a>, and freelanced for a great many other publications. Her undying love for San Francisco has, more recently, turned her into \u003ca href=\"https://www.kqed.org/arts/tag/bayareahistory/\">a history nerd\u003c/a>. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture.","avatar":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twitter":"raemondjjjj","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":"Staff Writer","ogImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ralexandra"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"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_111678":{"type":"posts","id":"pop_111678","meta":{"index":"posts_1591205157","site":"pop","id":"111678","score":null,"sort":[1560256041000]},"guestAuthors":[],"slug":"8-ways-bobs-burgers-is-pure-bay-area","title":"8 Ways 'Bob's Burgers' Is Pure Bay Area","publishDate":1560256041,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>The people in charge of \u003cem>Bob's Burgers\u003c/em> have denied it repeatedly. “We set it firmly in the Northeast because of the way Linda sounds, and Teddy,” show creator \u003ca href=\"https://ew.com/article/2012/08/17/bobs-burgers-interview-bouchard-benjamin/\" target=\"_blank\" rel=\"noopener noreferrer\">Loren Bouchard told \u003cem>Entertainment Weekly\u003c/em>\u003c/a>. \"Because it’s this seaside, past-its-prime, dusty old town, we kind of felt like that puts it pretty close to those Coney Island, New York-New Jersey shore parts.”\u003c/p>\n\u003cp>For anyone living in Northern California, though, much about \u003cem>Bob's Burgers\u003c/em> screams Bay Area. Let us count the ways...\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Bob's Restaurant Is From The Mission\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-111683 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/11114b7feaafb4e955ca276dd0b581f5.jpg\" alt=\"\" width=\"720\" height=\"405\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/11114b7feaafb4e955ca276dd0b581f5.jpg 720w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/11114b7feaafb4e955ca276dd0b581f5-160x90.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/p>\n\u003cp>No other city in the country has buildings that look like this. Bouchard admits that the show \"has all that Victorian architecture from San Francisco because I was living there when we developed the show.\" SF-based artist and illustrator Sirron Norris (you probably know him via the \u003ca href=\"https://www.kqed.org/pop/102978/a-guide-to-san-francisco-murals-and-the-artists-who-make-them\" target=\"_blank\" rel=\"noopener noreferrer\">blue teddy bears\u003c/a> he paints all over the city) was the \u003ca href=\"http://www.sirronnorris.com/about\" target=\"_blank\" rel=\"noopener noreferrer\">lead artist\u003c/a> on \u003cem>Bob's Burgers\u003c/em>, and says the show's restaurant was directly lifted \u003ca href=\"https://hoodline.com/2016/11/bob-s-burgers-mural-at-rhea-s-cafe-pays-homage-to-show-s-sf-roots\" target=\"_blank\" rel=\"noopener noreferrer\">from the Mission District\u003c/a>: \"Loren lived on 20th. The house he used to live in is the model for the restaurant.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Mr. Fischoeder Lives In The Winchester Mystery House\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111684\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/capture37-800x450.png\" alt='A scene from \"The Oeder Games.\"' width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37-800x450.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37-768x432.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37-1020x573.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37.png 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from \"The Oeder Games.\" \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It's a simplified version, of course, but Mr. Fischoeder's elaborate estate—seen in detail in Season 5's \"The Oeder Games\"—is clearly, from the huge porch to the turrets on either side, based on San Jose's \u003ca href=\"https://winchestermysteryhouse.com/\">Winchester Mystery House\u003c/a>. With the main colorful structure and its accompanying weird treehouse and manicured grounds, the Belchers' landlord lives in a creation that could've come directly from the minds of Sarah Winchester and her mediums.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Neighborhood Is Very LGBTQ-Friendly\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111688\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/vy43sop2cg621-800x369.jpg\" alt=\"It's not a party in 'Bob's Burgers' until Marshmallow shows up.\" width=\"800\" height=\"369\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-800x369.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-160x74.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-768x355.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-1020x471.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-1200x554.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-1920x887.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It's not a party in 'Bob's Burgers' until Marshmallow shows up. \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A full list of all the LGBTQ-friendly moments in \u003cem>Bob's Burgers\u003c/em> could fill its own article, but it's fair to say that the nightlife around the Wonder Wharf (which has a bar called The Bear Trap) is welcoming to the LGBTQ community on a San Francisco level. There's the time Bob befriended \u003ca href=\"https://www.youtube.com/watch?v=ttw3ZN4sx6g\" target=\"_blank\" rel=\"noopener noreferrer\">a \"fabulous\" trio\u003c/a> while driving a cab, and the time the drag queen Cleavage To Beaver performed what's essentially a disco version of \"Born This Way\" at a Christmas party. Best of all, there's \u003ca href=\"https://www.youtube.com/watch?v=p_6ua-PGWPk\" target=\"_blank\" rel=\"noopener noreferrer\">Marshmallow\u003c/a>—a trans sex worker who befriends the Belchers and is treated like just any other gal in the neighborhood. The world of \u003cem>Bob's Burgers\u003c/em> never discriminates.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>This Blatant Reference To The \u003ca href=\"https://www.boomboomroom.com/\">Boom Boom Room\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111909\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-800x449.png\" alt=\"From Season 2's "Food Truckin'" episode.\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-800x449.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-768x431.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-1020x572.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-1200x673.png 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM.png 1358w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Season 2's \"Food Truckin'\" episode. \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Season 2, Bob takes his burgers on the road with a food truck. When he's out finding drunk people to feed, he ends up... here. Its name's similarity to \u003ca href=\"https://www.boomboomroom.com/\" rel=\"noopener noreferrer\" target=\"_blank\">the venerable blues club in the Fillmore\u003c/a> can't be a coincidence. Fun fact! The liquor store next to The Womb Womb Room is named after \u003cem>Bob's Burgers\u003c/em> Supervising Director, \u003ca href=\"https://twitter.com/derriman\" target=\"_blank\" rel=\"noopener noreferrer\">Bernard Derriman\u003c/a>.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Jimmy Pesto Is The Image Of Huey Lewis\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_112038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112038\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/huey-jimmy-800x400.jpg\" alt=\"Jimmy Pesto is basically Huey Lewis in cartoon form.\" width=\"800\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-160x80.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-1020x510.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-1200x600.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-1920x960.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jimmy Pesto is basically Huey Lewis in cartoon form.\u003c/figcaption>\u003c/figure>\n\u003cp>One is a San Francisco musical treasure. The other is an Italian restaurant-owning bully. But Huey Lewis and Jimmy Pesto bear all the same physical features, from their identical haircuts and soulful eyebrows down to their irresistibly dimpled chins. This has always felt like a conscious decision on the part of the animators, but Season 9 really hammered the point home. First, in \"Nightmare on Ocean Avenue Street,\" the kids trick-or-treat in a store titled \"Shoe-y Lewis and the Shoes.\" Then, in \"Bob Your Pardon,\" a nosy reporter utters the immortal phrase: \"Well, somebody better call Huey Lewis, because I may have found myself some news...\" That is, indeed, the power of love.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>There's A Bay To Breakers Episode\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ts2KV7AzlsQ\u003c/p>\n\u003cp>Here's an exchange between the Belchers about the annual \"Bog to Beach\" parade.\u003c/p>\n\u003cp>\u003cstrong>Linda:\u003c/strong> “All the free spirits out on the street having a blast... You drink a lot, you wear crazy costumes.”\u003cbr>\n\u003cstrong>Tina:\u003c/strong> “And some people don’t wear costumes, or \u003cem>anything\u003c/em>. Sun’s out, buns out, am I right?”\u003cbr>\n\u003cstrong>Bob:\u003c/strong> “It gets a little out of control. People pee everywhere.”\u003c/p>\n\u003cp>If that's not a description of \u003ca href=\"https://en.wikipedia.org/wiki/Bay_to_Breakers\" target=\"_blank\" rel=\"noopener noreferrer\">Bay to Breakers\u003c/a>, then Tina isn't in love with Jimmy Jr.'s butt.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Wharf Arts Center Is Clearly In San Jose\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111691\" class=\"wp-caption aligncenter\" style=\"max-width: 602px\">\u003cimg class=\"size-full wp-image-111691\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Screen-Shot-2019-05-07-at-3.28.22-PM.png\" alt=\"The Wharf Arts Center in 'Bob's Burgers.'\" width=\"602\" height=\"337\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-07-at-3.28.22-PM.png 602w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-07-at-3.28.22-PM-160x90.png 160w\" sizes=\"(max-width: 602px) 100vw, 602px\">\u003cfigcaption class=\"wp-caption-text\">The Wharf Arts Center in 'Bob's Burgers.' \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wharf Arts Center (or \"War! Farts!\" if you're Gene) just so happens to be almost identical to the distinctive exterior of \u003ca href=\"https://en.wikipedia.org/wiki/San_Jose_Center_for_the_Performing_Arts\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose's Center For Performing Arts\u003c/a>. Clearly no accident.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Linda Worries About Earthquakes\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111959\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/maxresdefault-1-800x450.jpg\" alt='Linda, Bob and Gene try to rescue Louise in \"The Belchies.\"' width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Linda, Bob and Gene try to rescue Louise in \"The Belchies.\" \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Season 2, \u003cem>Bob's Burgers\u003c/em> spoofed \u003cem>The Goonies\u003c/em> with an episode titled \"The Belchies.\" As Bob and Linda rush to rescue their treasure-hunting children from the old taffy factory in town, contractors begin to demolish it. While rubble falls around them, Linda exclaims \"Maybe it's an earthquake!\" That response is infinitely more San Francisco than New Jersey.\u003c/p>\n\u003cp>We'll leave you with the best thing about that episode: \"Taffy Butt\"—Cyndi Lauper's parody of her very own \u003ca href=\"https://www.youtube.com/watch?v=LxLhytQ67fs\" target=\"_blank\" rel=\"noopener noreferrer\">\"Goonies 'R' Good Enough\"\u003c/a> hit, complete with Jimmy Jr. doing the warehouse routine from \u003cem>Footloose\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8qSQDKYivHk\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All of the above is conclusive proof that, while \u003cem>Bob's Burgers\u003c/em> may be officially on the East Coast, it definitely left its heart in San Francisco.\u003c/p>\n\n","blocks":[],"excerpt":"It's set on the East Coast, but 'Bob's Burgers' clearly left its heart in San Francisco.","status":"publish","parent":0,"modified":1653588448,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":970},"headData":{"title":"8 Ways 'Bob's Burgers' Is Pure Bay Area - KQED Pop","description":"It's set on the East Coast, but 'Bob's Burgers' clearly left its heart in San Francisco.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"8 Ways 'Bob's Burgers' Is Pure Bay Area","datePublished":"2019-06-11T12:27:21.000Z","dateModified":"2022-05-26T18:07:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"111678 https://ww2.kqed.org/pop/?p=111678","disqusUrl":"https://ww2.kqed.org/pop/2019/06/11/8-ways-bobs-burgers-is-pure-bay-area/","disqusTitle":"8 Ways 'Bob's Burgers' Is Pure Bay Area","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/pop/111678/8-ways-bobs-burgers-is-pure-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The people in charge of \u003cem>Bob's Burgers\u003c/em> have denied it repeatedly. “We set it firmly in the Northeast because of the way Linda sounds, and Teddy,” show creator \u003ca href=\"https://ew.com/article/2012/08/17/bobs-burgers-interview-bouchard-benjamin/\" target=\"_blank\" rel=\"noopener noreferrer\">Loren Bouchard told \u003cem>Entertainment Weekly\u003c/em>\u003c/a>. \"Because it’s this seaside, past-its-prime, dusty old town, we kind of felt like that puts it pretty close to those Coney Island, New York-New Jersey shore parts.”\u003c/p>\n\u003cp>For anyone living in Northern California, though, much about \u003cem>Bob's Burgers\u003c/em> screams Bay Area. Let us count the ways...\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Bob's Restaurant Is From The Mission\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-111683 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/11114b7feaafb4e955ca276dd0b581f5.jpg\" alt=\"\" width=\"720\" height=\"405\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/11114b7feaafb4e955ca276dd0b581f5.jpg 720w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/11114b7feaafb4e955ca276dd0b581f5-160x90.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/p>\n\u003cp>No other city in the country has buildings that look like this. Bouchard admits that the show \"has all that Victorian architecture from San Francisco because I was living there when we developed the show.\" SF-based artist and illustrator Sirron Norris (you probably know him via the \u003ca href=\"https://www.kqed.org/pop/102978/a-guide-to-san-francisco-murals-and-the-artists-who-make-them\" target=\"_blank\" rel=\"noopener noreferrer\">blue teddy bears\u003c/a> he paints all over the city) was the \u003ca href=\"http://www.sirronnorris.com/about\" target=\"_blank\" rel=\"noopener noreferrer\">lead artist\u003c/a> on \u003cem>Bob's Burgers\u003c/em>, and says the show's restaurant was directly lifted \u003ca href=\"https://hoodline.com/2016/11/bob-s-burgers-mural-at-rhea-s-cafe-pays-homage-to-show-s-sf-roots\" target=\"_blank\" rel=\"noopener noreferrer\">from the Mission District\u003c/a>: \"Loren lived on 20th. The house he used to live in is the model for the restaurant.”\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 style=\"text-align: center\">\u003cstrong>Mr. Fischoeder Lives In The Winchester Mystery House\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111684\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/capture37-800x450.png\" alt='A scene from \"The Oeder Games.\"' width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37-800x450.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37-768x432.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37-1020x573.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/capture37.png 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from \"The Oeder Games.\" \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It's a simplified version, of course, but Mr. Fischoeder's elaborate estate—seen in detail in Season 5's \"The Oeder Games\"—is clearly, from the huge porch to the turrets on either side, based on San Jose's \u003ca href=\"https://winchestermysteryhouse.com/\">Winchester Mystery House\u003c/a>. With the main colorful structure and its accompanying weird treehouse and manicured grounds, the Belchers' landlord lives in a creation that could've come directly from the minds of Sarah Winchester and her mediums.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Neighborhood Is Very LGBTQ-Friendly\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111688\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/vy43sop2cg621-800x369.jpg\" alt=\"It's not a party in 'Bob's Burgers' until Marshmallow shows up.\" width=\"800\" height=\"369\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-800x369.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-160x74.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-768x355.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-1020x471.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-1200x554.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621-1920x887.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/vy43sop2cg621.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It's not a party in 'Bob's Burgers' until Marshmallow shows up. \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A full list of all the LGBTQ-friendly moments in \u003cem>Bob's Burgers\u003c/em> could fill its own article, but it's fair to say that the nightlife around the Wonder Wharf (which has a bar called The Bear Trap) is welcoming to the LGBTQ community on a San Francisco level. There's the time Bob befriended \u003ca href=\"https://www.youtube.com/watch?v=ttw3ZN4sx6g\" target=\"_blank\" rel=\"noopener noreferrer\">a \"fabulous\" trio\u003c/a> while driving a cab, and the time the drag queen Cleavage To Beaver performed what's essentially a disco version of \"Born This Way\" at a Christmas party. Best of all, there's \u003ca href=\"https://www.youtube.com/watch?v=p_6ua-PGWPk\" target=\"_blank\" rel=\"noopener noreferrer\">Marshmallow\u003c/a>—a trans sex worker who befriends the Belchers and is treated like just any other gal in the neighborhood. The world of \u003cem>Bob's Burgers\u003c/em> never discriminates.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>This Blatant Reference To The \u003ca href=\"https://www.boomboomroom.com/\">Boom Boom Room\u003c/a>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111909\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-800x449.png\" alt=\"From Season 2's "Food Truckin'" episode.\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-800x449.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-768x431.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-1020x572.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM-1200x673.png 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-17-at-9.18.46-PM.png 1358w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Season 2's \"Food Truckin'\" episode. \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Season 2, Bob takes his burgers on the road with a food truck. When he's out finding drunk people to feed, he ends up... here. Its name's similarity to \u003ca href=\"https://www.boomboomroom.com/\" rel=\"noopener noreferrer\" target=\"_blank\">the venerable blues club in the Fillmore\u003c/a> can't be a coincidence. Fun fact! The liquor store next to The Womb Womb Room is named after \u003cem>Bob's Burgers\u003c/em> Supervising Director, \u003ca href=\"https://twitter.com/derriman\" target=\"_blank\" rel=\"noopener noreferrer\">Bernard Derriman\u003c/a>.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Jimmy Pesto Is The Image Of Huey Lewis\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_112038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112038\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/huey-jimmy-800x400.jpg\" alt=\"Jimmy Pesto is basically Huey Lewis in cartoon form.\" width=\"800\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-160x80.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-1020x510.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-1200x600.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy-1920x960.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/huey-jimmy.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jimmy Pesto is basically Huey Lewis in cartoon form.\u003c/figcaption>\u003c/figure>\n\u003cp>One is a San Francisco musical treasure. The other is an Italian restaurant-owning bully. But Huey Lewis and Jimmy Pesto bear all the same physical features, from their identical haircuts and soulful eyebrows down to their irresistibly dimpled chins. This has always felt like a conscious decision on the part of the animators, but Season 9 really hammered the point home. First, in \"Nightmare on Ocean Avenue Street,\" the kids trick-or-treat in a store titled \"Shoe-y Lewis and the Shoes.\" Then, in \"Bob Your Pardon,\" a nosy reporter utters the immortal phrase: \"Well, somebody better call Huey Lewis, because I may have found myself some news...\" That is, indeed, the power of love.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>There's A Bay To Breakers Episode\u003c/strong>\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/ts2KV7AzlsQ'\n title='//www.youtube.com/embed/ts2KV7AzlsQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here's an exchange between the Belchers about the annual \"Bog to Beach\" parade.\u003c/p>\n\u003cp>\u003cstrong>Linda:\u003c/strong> “All the free spirits out on the street having a blast... You drink a lot, you wear crazy costumes.”\u003cbr>\n\u003cstrong>Tina:\u003c/strong> “And some people don’t wear costumes, or \u003cem>anything\u003c/em>. Sun’s out, buns out, am I right?”\u003cbr>\n\u003cstrong>Bob:\u003c/strong> “It gets a little out of control. People pee everywhere.”\u003c/p>\n\u003cp>If that's not a description of \u003ca href=\"https://en.wikipedia.org/wiki/Bay_to_Breakers\" target=\"_blank\" rel=\"noopener noreferrer\">Bay to Breakers\u003c/a>, then Tina isn't in love with Jimmy Jr.'s butt.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Wharf Arts Center Is Clearly In San Jose\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111691\" class=\"wp-caption aligncenter\" style=\"max-width: 602px\">\u003cimg class=\"size-full wp-image-111691\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Screen-Shot-2019-05-07-at-3.28.22-PM.png\" alt=\"The Wharf Arts Center in 'Bob's Burgers.'\" width=\"602\" height=\"337\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-07-at-3.28.22-PM.png 602w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Screen-Shot-2019-05-07-at-3.28.22-PM-160x90.png 160w\" sizes=\"(max-width: 602px) 100vw, 602px\">\u003cfigcaption class=\"wp-caption-text\">The Wharf Arts Center in 'Bob's Burgers.' \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wharf Arts Center (or \"War! Farts!\" if you're Gene) just so happens to be almost identical to the distinctive exterior of \u003ca href=\"https://en.wikipedia.org/wiki/San_Jose_Center_for_the_Performing_Arts\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose's Center For Performing Arts\u003c/a>. Clearly no accident.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Linda Worries About Earthquakes\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_111959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111959\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/maxresdefault-1-800x450.jpg\" alt='Linda, Bob and Gene try to rescue Louise in \"The Belchies.\"' width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/maxresdefault-1.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Linda, Bob and Gene try to rescue Louise in \"The Belchies.\" \u003ccite>('Bob's Burgers'/FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Season 2, \u003cem>Bob's Burgers\u003c/em> spoofed \u003cem>The Goonies\u003c/em> with an episode titled \"The Belchies.\" As Bob and Linda rush to rescue their treasure-hunting children from the old taffy factory in town, contractors begin to demolish it. While rubble falls around them, Linda exclaims \"Maybe it's an earthquake!\" That response is infinitely more San Francisco than New Jersey.\u003c/p>\n\u003cp>We'll leave you with the best thing about that episode: \"Taffy Butt\"—Cyndi Lauper's parody of her very own \u003ca href=\"https://www.youtube.com/watch?v=LxLhytQ67fs\" target=\"_blank\" rel=\"noopener noreferrer\">\"Goonies 'R' Good Enough\"\u003c/a> hit, complete with Jimmy Jr. doing the warehouse routine from \u003cem>Footloose\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/8qSQDKYivHk'\n title='//www.youtube.com/embed/8qSQDKYivHk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>All of the above is conclusive proof that, while \u003cem>Bob's Burgers\u003c/em> may be officially on the East Coast, it definitely left its heart in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/111678/8-ways-bobs-burgers-is-pure-bay-area","authors":["11242"],"categories":["pop_1537","pop_131","pop_3"],"tags":["pop_782","pop_301","pop_296","pop_3341","pop_3185","pop_3846","pop_3847","pop_3204"],"featImg":"pop_111727","label":"pop"},"pop_111528":{"type":"posts","id":"pop_111528","meta":{"index":"posts_1591205157","site":"pop","id":"111528","score":null,"sort":[1556741585000]},"guestAuthors":[],"slug":"netflixs-tuca-bertie-puts-the-lady-birds-in-charge","title":"Netflix's 'Tuca & Bertie' Puts The Lady Birds In Charge","publishDate":1556741585,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\u003cem>Tuca & Bertie\u003c/em> is the latest adult animation to hit Netflix, and it centers on a brassy, colorful toucan (voiced by \u003ca href=\"https://www.npr.org/2017/12/14/569890709/tiffany-haddish-i-know-what-im-supposed-to-do-here-on-this-earth\">Tiffany Haddish\u003c/a>) and her neurotic best friend, a songbird (voiced by \u003ca href=\"https://www.npr.org/2016/08/02/484163577/marriage-and-motherhood-are-a-source-of-power-says-comic-ali-wong\">Ali Wong\u003c/a>). But the strongest voice on the show is behind the scenes—that of creator and executive producer Lisa Hanawalt.\u003c/p>\n\u003cp>Hanawalt, who \u003ca href=\"https://www.npr.org/2015/03/24/393853692/for-bojack-horseman-it-matters-if-a-cartoon-dog-is-a-man-or-a-woman\">helped shape the hit animation\u003c/a> \u003cem>BoJack Horseman\u003c/em> as its creative director, describes herself as someone vacillating between confident and anxious. So when her own show got a green light, she deliberately focused on a female perspective, and gave both sides of her personality a character.\u003c/p>\n\u003cp>Her brassy, bold self is woven into Tuca. \"Confident, yet relatable,\" Tuca describes herself in the premiere. \"Wearer of short shorts.\"\u003c/p>\n\u003cp>Her more uncertain, anxious side got life as Bertie. The birds are best friends in their 30s—a theme Hanawalt felt needed more exploration.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZybYIJtbcu0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"So they're getting older, and Bertie maybe wants to buy a house and start a family and get married, and Tuca feels a little left behind,\" Hanawalt says. \"I wanted to explore what happens to a friendship like that—when you've been best friends for 10 years, but things are changing and you're maybe moving in different directions.\"\u003c/p>\n\u003cp>That this is an animated show allows Hanawalt and her team to embrace her unique sensibility. It involves absurdist humor and ... boobs. Lots of boobs.\u003c/p>\n\u003cp>In this show, boobs are on animals, on buildings; one boob even gets personified, popping right out of Bertie's chest in protest of a sexual advance. \"I am finished. I'm finished!\" the talking boob says. \"I am done with today! I need a drink.\"\u003c/p>\n\u003cp>\"You can just slap boobs on anything,\" Hanawalt says. \"Boobs on a snake! That doesn't really make sense, but it doesn't need to. There's a surreality to the world.\"\u003c/p>\n\u003cp>This surreal world starring women of color and created by a woman showrunner marks a first. The existing adult animations out there — \u003cem>Family Guy\u003c/em>, \u003cem>Archer\u003c/em>, \u003cem>The Simpsons\u003c/em>—are driven by men behind the scenes and male protagonists on the screens. So \u003cem>Tuca & Bertie\u003c/em> breaks ground, as a comedy about finding your way in a male-dominated world—but also as proof that Hanawalt has found her way in a \u003ca href=\"https://www.npr.org/2019/04/17/709644139/pixars-sparkshorts-set-out-to-ignite-more-diversity-in-animation\">heavily male animation industry\u003c/a>.\u003c/p>\n\u003cp>\"I've had it pointed out to me when I'm the only woman in a room,\" Hanawalt says. \"Some people think that that's a relevant thing to just say out loud, and I'm like, 'Really! That's a comfortable way to start a meeting. Thank you for pointing out how different I am.'\u003c/p>\n\u003cp>\"There's a lot of people working in this industry who are just blissfully unaware of certain things and how they could be coded, or how they could come across to different types of people. So, yeah, I think it matters a lot who's in the room, and who's empowered to speak up about things.\"\u003c/p>\n\u003cp>When she became the boss, she was deliberate in her hiring.\u003c/p>\n\u003cp>\"If you make that a goal of yours, it is not difficult to find writers of all colors and shapes and genders,\" Hanawalt says. \"It's really not difficult.\"\u003c/p>\n\u003cfigure id=\"attachment_111530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111530\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-800x533.jpg\" alt=\"Lisa Hanawalt is the creator and executive producer of 'Tuca & Bertie.'\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Hanawalt is the creator and executive producer of 'Tuca & Bertie.' \u003ccite>(Eddy Chen/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amy Winfrey, who directs several \u003cem>Tuca \u003c/em>episodes, says she feels the benefits of a diverse room in how the show is made—the creators being \"open to suggestions from everybody just in trying to get the best show possible\"—and editor Molly Yahr says it shows up in the finished product.\u003c/p>\n\u003cp>\"There is just a genuine importance for shows just displaying different parts of culture, and this show is a good indication of a type of female culture,\" Yahr says.\u003c/p>\n\u003cp>For Hanawalt, showing that women are weird and gross and multifaceted, just as she is, helps normalize our weirdnesses and idiosyncrasies.\u003c/p>\n\u003cp>\"I just hope that the people who watch it connect with it, and that it makes them feel better about who they are, so they don't have to feel apologetic for being a certain way or not being the status quo or whatever,\" Hanawalt says.\u003c/p>\n\u003cp>To create that connection, Hanawalt is at the center of all the decisions on this show, from the overarching vision down to the sly jokes. On one afternoon, she and Yahr compare different voice takes of Wong and Haddish excitedly reacting to a Girl Thingz store (it's reminiscent of the accessory-store mall stalwart, Claire's).\u003c/p>\n\u003cp>\"Girl things\" is a cheeky reference on \u003cem>Tuca & Bertie\u003c/em>. It's also the show's big idea.\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\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix%27s+%27Tuca+%26+Bertie%27+Puts+The+Lady+Birds+In+Charge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"In bringing a cartoon toucan and an anxious songbird to screen, show creator Lisa Hanawalt has done something still rare: made an animated show about women friends, by women friends.","status":"publish","parent":0,"modified":1556741909,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":805},"headData":{"title":"Netflix's 'Tuca & Bertie' Puts The Lady Birds In Charge | KQED","description":"In bringing a cartoon toucan and an anxious songbird to screen, show creator Lisa Hanawalt has done something still rare: made an animated show about women friends, by women friends.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Netflix's 'Tuca & Bertie' Puts The Lady Birds In Charge","datePublished":"2019-05-01T20:13:05.000Z","dateModified":"2019-05-01T20:18:29.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"111528 https://ww2.kqed.org/pop/?p=111528","disqusUrl":"https://ww2.kqed.org/pop/2019/05/01/netflixs-tuca-bertie-puts-the-lady-birds-in-charge/","disqusTitle":"Netflix's 'Tuca & Bertie' Puts The Lady Birds In Charge","nprByline":"Elise Hu","nprImageAgency":"Netflix","nprStoryId":"717667586","nprApiLink":"http://api.npr.org/query?id=717667586&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/05/01/717667586/netflixs-tuca-bertie-puts-the-lady-birds-in-charge?ft=nprml&f=717667586","nprRetrievedStory":"1","nprPubDate":"Wed, 01 May 2019 15:00:00 -0400","nprStoryDate":"Wed, 01 May 2019 15:00:24 -0400","nprLastModifiedDate":"Wed, 01 May 2019 15:01:17 -0400","path":"/pop/111528/netflixs-tuca-bertie-puts-the-lady-birds-in-charge","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Tuca & Bertie\u003c/em> is the latest adult animation to hit Netflix, and it centers on a brassy, colorful toucan (voiced by \u003ca href=\"https://www.npr.org/2017/12/14/569890709/tiffany-haddish-i-know-what-im-supposed-to-do-here-on-this-earth\">Tiffany Haddish\u003c/a>) and her neurotic best friend, a songbird (voiced by \u003ca href=\"https://www.npr.org/2016/08/02/484163577/marriage-and-motherhood-are-a-source-of-power-says-comic-ali-wong\">Ali Wong\u003c/a>). But the strongest voice on the show is behind the scenes—that of creator and executive producer Lisa Hanawalt.\u003c/p>\n\u003cp>Hanawalt, who \u003ca href=\"https://www.npr.org/2015/03/24/393853692/for-bojack-horseman-it-matters-if-a-cartoon-dog-is-a-man-or-a-woman\">helped shape the hit animation\u003c/a> \u003cem>BoJack Horseman\u003c/em> as its creative director, describes herself as someone vacillating between confident and anxious. So when her own show got a green light, she deliberately focused on a female perspective, and gave both sides of her personality a character.\u003c/p>\n\u003cp>Her brassy, bold self is woven into Tuca. \"Confident, yet relatable,\" Tuca describes herself in the premiere. \"Wearer of short shorts.\"\u003c/p>\n\u003cp>Her more uncertain, anxious side got life as Bertie. The birds are best friends in their 30s—a theme Hanawalt felt needed more exploration.\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/ZybYIJtbcu0'\n title='//www.youtube.com/embed/ZybYIJtbcu0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"So they're getting older, and Bertie maybe wants to buy a house and start a family and get married, and Tuca feels a little left behind,\" Hanawalt says. \"I wanted to explore what happens to a friendship like that—when you've been best friends for 10 years, but things are changing and you're maybe moving in different directions.\"\u003c/p>\n\u003cp>That this is an animated show allows Hanawalt and her team to embrace her unique sensibility. It involves absurdist humor and ... boobs. Lots of boobs.\u003c/p>\n\u003cp>In this show, boobs are on animals, on buildings; one boob even gets personified, popping right out of Bertie's chest in protest of a sexual advance. \"I am finished. I'm finished!\" the talking boob says. \"I am done with today! I need a drink.\"\u003c/p>\n\u003cp>\"You can just slap boobs on anything,\" Hanawalt says. \"Boobs on a snake! That doesn't really make sense, but it doesn't need to. There's a surreality to the world.\"\u003c/p>\n\u003cp>This surreal world starring women of color and created by a woman showrunner marks a first. The existing adult animations out there — \u003cem>Family Guy\u003c/em>, \u003cem>Archer\u003c/em>, \u003cem>The Simpsons\u003c/em>—are driven by men behind the scenes and male protagonists on the screens. So \u003cem>Tuca & Bertie\u003c/em> breaks ground, as a comedy about finding your way in a male-dominated world—but also as proof that Hanawalt has found her way in a \u003ca href=\"https://www.npr.org/2019/04/17/709644139/pixars-sparkshorts-set-out-to-ignite-more-diversity-in-animation\">heavily male animation industry\u003c/a>.\u003c/p>\n\u003cp>\"I've had it pointed out to me when I'm the only woman in a room,\" Hanawalt says. \"Some people think that that's a relevant thing to just say out loud, and I'm like, 'Really! That's a comfortable way to start a meeting. Thank you for pointing out how different I am.'\u003c/p>\n\u003cp>\"There's a lot of people working in this industry who are just blissfully unaware of certain things and how they could be coded, or how they could come across to different types of people. So, yeah, I think it matters a lot who's in the room, and who's empowered to speak up about things.\"\u003c/p>\n\u003cp>When she became the boss, she was deliberate in her hiring.\u003c/p>\n\u003cp>\"If you make that a goal of yours, it is not difficult to find writers of all colors and shapes and genders,\" Hanawalt says. \"It's really not difficult.\"\u003c/p>\n\u003cfigure id=\"attachment_111530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111530\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-800x533.jpg\" alt=\"Lisa Hanawalt is the creator and executive producer of 'Tuca & Bertie.'\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/tab_bts_01069_r_slide-c88ac0f0bc912d38f74699c4fa6f4466b3489d60.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Hanawalt is the creator and executive producer of 'Tuca & Bertie.' \u003ccite>(Eddy Chen/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amy Winfrey, who directs several \u003cem>Tuca \u003c/em>episodes, says she feels the benefits of a diverse room in how the show is made—the creators being \"open to suggestions from everybody just in trying to get the best show possible\"—and editor Molly Yahr says it shows up in the finished product.\u003c/p>\n\u003cp>\"There is just a genuine importance for shows just displaying different parts of culture, and this show is a good indication of a type of female culture,\" Yahr says.\u003c/p>\n\u003cp>For Hanawalt, showing that women are weird and gross and multifaceted, just as she is, helps normalize our weirdnesses and idiosyncrasies.\u003c/p>\n\u003cp>\"I just hope that the people who watch it connect with it, and that it makes them feel better about who they are, so they don't have to feel apologetic for being a certain way or not being the status quo or whatever,\" Hanawalt says.\u003c/p>\n\u003cp>To create that connection, Hanawalt is at the center of all the decisions on this show, from the overarching vision down to the sly jokes. On one afternoon, she and Yahr compare different voice takes of Wong and Haddish excitedly reacting to a Girl Thingz store (it's reminiscent of the accessory-store mall stalwart, Claire's).\u003c/p>\n\u003cp>\"Girl things\" is a cheeky reference on \u003cem>Tuca & Bertie\u003c/em>. It's also the show's big idea.\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\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix%27s+%27Tuca+%26+Bertie%27+Puts+The+Lady+Birds+In+Charge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/111528/netflixs-tuca-bertie-puts-the-lady-birds-in-charge","authors":["byline_pop_111528"],"categories":["pop_1537","pop_3"],"tags":["pop_3598","pop_782","pop_3599","pop_438","pop_3261","pop_3600"],"featImg":"pop_111529","label":"pop"},"pop_109260":{"type":"posts","id":"pop_109260","meta":{"index":"posts_1591205157","site":"pop","id":"109260","score":null,"sort":[1549580418000]},"guestAuthors":[],"slug":"the-2019-animated-short-film-oscar-nominees-reviewed","title":"The 2019 Animated Short Film Oscar Nominees, Reviewed","publishDate":1549580418,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Shorts come back in season every February, as the showcases of Oscar-nominated animated, live-action, and documentary short films make their way to theaters around the country. But this year, at least one line of shorts is committing a fashion \u003cem>faux pas\u003c/em>. Or maybe some animators just need a good hug from their loved ones: Four out of the five nominees for best animated short are about parents, children, and growing up.\u003c/p>\n\u003cp>Individually, none of these films represent an offense on the level of last year's winner \u003ca href=\"https://www.npr.org/2018/02/08/583987171/reviewed-this-years-5-oscar-nominated-animated-short-films\">\u003cem>Dear Basketball\u003c/em>.\u003c/a> But despite the obvious talents of the filmmakers on display, this crop of nominees—chosen from an initial list of \u003ca href=\"https://www.cartoonbrew.com/awards/2019-best-animated-short-film-oscar-a-list-of-qualified-films-in-the-category-exclusive-164563.html\">more than 70 qualifying films\u003c/a>—stings, because it reveals a limited view of the power of animation, not to mention the adaptability of the short form.\u003c/p>\n\u003cp>Still, even when these variations on a theme are slight, some raw filmmaking power still emerges. Let's try them all, one by one, as we watch our families age and twist along the bittersweet passage of time:\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Animal Behavior\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9OH0TIXMfRo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The only nominated film this year \u003cem>not\u003c/em> about parenthood is a deliciously dark Canadian comedy about a therapy group session for wild beasts. Led by an adorable pit bull in glasses who has successfully repressed his own urges to sniff other dogs' butts, the group includes a pig with a chocolate addiction; a bird with a traumatic past; and a praying mantis who can't stop killing and eating her boyfriends. But the road to recovery is upended by a new arrival who brings some, well, monkey business of his own.\u003c/p>\n\u003cp>Writer-directors David Fine and Alison Snowden (they're previous winners in this category for \u003cem>Bob's Birthday\u003c/em> in 1995) deliver lots of clever therapy gags. The sight of a room full of animals reacting to their own natural selves with horror befitting a human makes \u003cem>Animal Behavior\u003c/em> a great chew toy for the mind. Plus, the movie manages to be arch and morbid without being mean, a balancing act that usually takes years of therapy for most comedians.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Bao\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g2zt45rpn4k\u003c/p>\n\u003cp>Pixar's annual entry in this category follows a Chinese woman who becomes mother to an adorable, anthropomorphic bao bun. Written and directed by Domee Shi (the first woman to direct a short film for the studio) and originally shown in theaters with \u003cem>Incredibles 2\u003c/em>, the pat seven-minute snack delivers on its concept in all the expected ways, and is carried over the finish line by the winning character design of the bao-child, who smushes his doughy little noggin trying to head-butt a soccer ball. It ain't \u003cem>Sanjay's Super Team\u003c/em> or \u003cem>One Man Band\u003c/em>, but \u003cem>Bao\u003c/em> is a decent late-period Pixar dumpling.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Late Afternoon\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TQ1sdso-d_g\u003c/p>\n\u003cp>A biscuit in a teacup becomes Proust's Madeleine for an elderly woman suffering from dementia, triggering her remembrance of things past in this abstract portrait from top-notch Irish studio Cartoon Saloon (who were also behind acclaimed features like \u003cem>The Breadwinner \u003c/em>and \u003cem>Song of the Sea\u003c/em>). This studio is particularly gifted at squeezing dollops of feeling from simple, pared-down settings and character designs, and writer-director Louise Bagnall smartly trusts this principle as her story leaps back and forth in time. Fionnula Flanagan does some lovely voice work as Emily, the woman who can't seem to place the strange person helping to pack up her things. Done in a hand-drawn style, the lush animation obscures a flat story but also helps the piece resonate for anyone who's ever struggled with elder care.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>One Small Step\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lWHJS17v2KU\u003c/p>\n\u003cp>To the Moon, young ones. Like \u003cem>First Man\u003c/em> in reverse, and very closely mirroring \u003cem>Bao\u003c/em>'s story beats, this weepie follows a little girl who dreams of outer space and her humble shoemaker father who supports her until he no longer can. Many time-lapse shots of breakfast tables to follow.\u003c/p>\n\u003cp>Upstart animation house Taiko Studios is fueling its rocket ship with the same Disney corn syrup its young production staff grew up on—just take a gander at the laughing child with the giant eyes, playing make-believe in a cardboard box. (Co-directors Andrew Chesworth and Bobby Pontillas are former Disney animators whose credits include \u003cem>Zootopia \u003c/em>and \u003cem>Big Hero 6\u003c/em>.) \u003cem>One Small Step\u003c/em> is a modest charmer with a clean CGI look that has the misfortune of being sandwiched between so many other sad-parent nominees. If you coo instead of rolling your eyes once it's revealed that the girl's name is Luna, you will love it.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Weekends\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DjRoz6F7VPY\u003c/p>\n\u003cp>The best of the four \"parent traps\" in the 2019 slate is this surreal Toronto-set indie following a little boy who cycles between his divorced parents every Friday-through-Monday. Drawing on his own childhood, writer-director Trevor Jimenez crafts a dark, confusing world of ping-ponging emotions, as the parents' urges to be their best selves around their son are undone by the arrival of new partners and new challenges. Disturbing imagery also abounds: a man with a half-lit candle for a face, a house entirely submerged underwater.\u003c/p>\n\u003cp>More nuanced and character-based than the other entries, \u003cem>Weekends\u003c/em> dwells on telling details like the mother's frazzled domestic life, the father's obsession with MTV and samurai swords, and the boy's struggles to adjust to different sleeping quarters. Jimenez captures the fractured, otherworldly nature of divorced life with aplomb and wisely eschews a cozy ending, instead letting the film's difficult psychology ruminate in our minds for many weekends to come.\u003c/p>\n\u003cp>\u003cstrong>Andrew Lapin's Picks:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Will Win: \u003c/strong>\u003cem>One Small Step\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Should Win: \u003c/strong>\u003cem>Weekends\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2019+Animated+Short+Film+Oscar+Nominees%2C+Reviewed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Four of the five animated-short nominees this year are weepy tales of parent-child relationships.","status":"publish","parent":0,"modified":1549580418,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":989},"headData":{"title":"The 2019 Animated Short Film Oscar Nominees, Reviewed | KQED","description":"Four of the five animated-short nominees this year are weepy tales of parent-child relationships.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 2019 Animated Short Film Oscar Nominees, Reviewed","datePublished":"2019-02-07T23:00:18.000Z","dateModified":"2019-02-07T23:00:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"109260 https://ww2.kqed.org/pop/?p=109260","disqusUrl":"https://ww2.kqed.org/pop/2019/02/07/the-2019-animated-short-film-oscar-nominees-reviewed/","disqusTitle":"The 2019 Animated Short Film Oscar Nominees, Reviewed","nprByline":"Andrew Lapin","nprImageAgency":"Pixar Studios ","nprStoryId":"691627685","nprApiLink":"http://api.npr.org/query?id=691627685&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/02/07/691627685/the-2019-animated-short-film-oscar-nominees-reviewed?ft=nprml&f=691627685","nprRetrievedStory":"1","nprPubDate":"Thu, 07 Feb 2019 17:01:00 -0500","nprStoryDate":"Thu, 07 Feb 2019 17:01:22 -0500","nprLastModifiedDate":"Thu, 07 Feb 2019 17:01:22 -0500","path":"/pop/109260/the-2019-animated-short-film-oscar-nominees-reviewed","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shorts come back in season every February, as the showcases of Oscar-nominated animated, live-action, and documentary short films make their way to theaters around the country. But this year, at least one line of shorts is committing a fashion \u003cem>faux pas\u003c/em>. Or maybe some animators just need a good hug from their loved ones: Four out of the five nominees for best animated short are about parents, children, and growing up.\u003c/p>\n\u003cp>Individually, none of these films represent an offense on the level of last year's winner \u003ca href=\"https://www.npr.org/2018/02/08/583987171/reviewed-this-years-5-oscar-nominated-animated-short-films\">\u003cem>Dear Basketball\u003c/em>.\u003c/a> But despite the obvious talents of the filmmakers on display, this crop of nominees—chosen from an initial list of \u003ca href=\"https://www.cartoonbrew.com/awards/2019-best-animated-short-film-oscar-a-list-of-qualified-films-in-the-category-exclusive-164563.html\">more than 70 qualifying films\u003c/a>—stings, because it reveals a limited view of the power of animation, not to mention the adaptability of the short form.\u003c/p>\n\u003cp>Still, even when these variations on a theme are slight, some raw filmmaking power still emerges. Let's try them all, one by one, as we watch our families age and twist along the bittersweet passage of time:\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Animal Behavior\u003c/strong>\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/9OH0TIXMfRo'\n title='//www.youtube.com/embed/9OH0TIXMfRo'\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 only nominated film this year \u003cem>not\u003c/em> about parenthood is a deliciously dark Canadian comedy about a therapy group session for wild beasts. Led by an adorable pit bull in glasses who has successfully repressed his own urges to sniff other dogs' butts, the group includes a pig with a chocolate addiction; a bird with a traumatic past; and a praying mantis who can't stop killing and eating her boyfriends. But the road to recovery is upended by a new arrival who brings some, well, monkey business of his own.\u003c/p>\n\u003cp>Writer-directors David Fine and Alison Snowden (they're previous winners in this category for \u003cem>Bob's Birthday\u003c/em> in 1995) deliver lots of clever therapy gags. The sight of a room full of animals reacting to their own natural selves with horror befitting a human makes \u003cem>Animal Behavior\u003c/em> a great chew toy for the mind. Plus, the movie manages to be arch and morbid without being mean, a balancing act that usually takes years of therapy for most comedians.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Bao\u003c/strong>\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/g2zt45rpn4k'\n title='//www.youtube.com/embed/g2zt45rpn4k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Pixar's annual entry in this category follows a Chinese woman who becomes mother to an adorable, anthropomorphic bao bun. Written and directed by Domee Shi (the first woman to direct a short film for the studio) and originally shown in theaters with \u003cem>Incredibles 2\u003c/em>, the pat seven-minute snack delivers on its concept in all the expected ways, and is carried over the finish line by the winning character design of the bao-child, who smushes his doughy little noggin trying to head-butt a soccer ball. It ain't \u003cem>Sanjay's Super Team\u003c/em> or \u003cem>One Man Band\u003c/em>, but \u003cem>Bao\u003c/em> is a decent late-period Pixar dumpling.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Late Afternoon\u003c/strong>\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/TQ1sdso-d_g'\n title='//www.youtube.com/embed/TQ1sdso-d_g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A biscuit in a teacup becomes Proust's Madeleine for an elderly woman suffering from dementia, triggering her remembrance of things past in this abstract portrait from top-notch Irish studio Cartoon Saloon (who were also behind acclaimed features like \u003cem>The Breadwinner \u003c/em>and \u003cem>Song of the Sea\u003c/em>). This studio is particularly gifted at squeezing dollops of feeling from simple, pared-down settings and character designs, and writer-director Louise Bagnall smartly trusts this principle as her story leaps back and forth in time. Fionnula Flanagan does some lovely voice work as Emily, the woman who can't seem to place the strange person helping to pack up her things. Done in a hand-drawn style, the lush animation obscures a flat story but also helps the piece resonate for anyone who's ever struggled with elder care.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>One Small Step\u003c/strong>\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/lWHJS17v2KU'\n title='//www.youtube.com/embed/lWHJS17v2KU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To the Moon, young ones. Like \u003cem>First Man\u003c/em> in reverse, and very closely mirroring \u003cem>Bao\u003c/em>'s story beats, this weepie follows a little girl who dreams of outer space and her humble shoemaker father who supports her until he no longer can. Many time-lapse shots of breakfast tables to follow.\u003c/p>\n\u003cp>Upstart animation house Taiko Studios is fueling its rocket ship with the same Disney corn syrup its young production staff grew up on—just take a gander at the laughing child with the giant eyes, playing make-believe in a cardboard box. (Co-directors Andrew Chesworth and Bobby Pontillas are former Disney animators whose credits include \u003cem>Zootopia \u003c/em>and \u003cem>Big Hero 6\u003c/em>.) \u003cem>One Small Step\u003c/em> is a modest charmer with a clean CGI look that has the misfortune of being sandwiched between so many other sad-parent nominees. If you coo instead of rolling your eyes once it's revealed that the girl's name is Luna, you will love it.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Weekends\u003c/strong>\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/DjRoz6F7VPY'\n title='//www.youtube.com/embed/DjRoz6F7VPY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The best of the four \"parent traps\" in the 2019 slate is this surreal Toronto-set indie following a little boy who cycles between his divorced parents every Friday-through-Monday. Drawing on his own childhood, writer-director Trevor Jimenez crafts a dark, confusing world of ping-ponging emotions, as the parents' urges to be their best selves around their son are undone by the arrival of new partners and new challenges. Disturbing imagery also abounds: a man with a half-lit candle for a face, a house entirely submerged underwater.\u003c/p>\n\u003cp>More nuanced and character-based than the other entries, \u003cem>Weekends\u003c/em> dwells on telling details like the mother's frazzled domestic life, the father's obsession with MTV and samurai swords, and the boy's struggles to adjust to different sleeping quarters. Jimenez captures the fractured, otherworldly nature of divorced life with aplomb and wisely eschews a cozy ending, instead letting the film's difficult psychology ruminate in our minds for many weekends to come.\u003c/p>\n\u003cp>\u003cstrong>Andrew Lapin's Picks:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Will Win: \u003c/strong>\u003cem>One Small Step\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Should Win: \u003c/strong>\u003cem>Weekends\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2019+Animated+Short+Film+Oscar+Nominees%2C+Reviewed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/109260/the-2019-animated-short-film-oscar-nominees-reviewed","authors":["byline_pop_109260"],"categories":["pop_1537","pop_51"],"tags":["pop_255","pop_782","pop_3426","pop_211","pop_3447"],"featImg":"pop_109261","label":"pop"},"pop_104173":{"type":"posts","id":"pop_104173","meta":{"index":"posts_1591205157","site":"pop","id":"104173","score":null,"sort":[1528920068000]},"guestAuthors":[],"slug":"the-action-packed-incredibles-2-puts-elastigirl-front-and-center","title":"The Action-Packed 'Incredibles 2' Puts Elastigirl Front and Center","publishDate":1528920068,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Brad Bird's virtuosic 2004 animated movie \u003ca href=\"https://www.imdb.com/title/tt0317705/?ref_=fn_al_tt_1\">\u003cem>The Incredibles\u003c/em>\u003c/a> is the best superhero film that has ever been made and is likely the best superhero film that ever will be made.\u003c/p>\n\u003cp>This is a fact — a cold, hard one. The massive, resolute, essential truth of this fact is abiding and irresistible and immovable; it possesses its own magnetic field, its own solar day.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eZbzbC9285I\u003c/p>\n\u003cp>The reasons are many and varied, and a full accounting of them is not possible within the space of a fleeting human life span. But it's useful, in considering its less-successful sequel, to remind ourselves of at least a handful of its chief virtues.\u003c/p>\n\u003cp>There is the design, of course, for one thing. The film was set in a clean-but-not-sterile retrofuture small-t tomorrowland, one that seemed to emerge fully formed from the drafting table of some particularly whimsical mid-century urban planner. Buildings didn't just dully occupy space, they gracefully swooped and dramatically arced. What's more, that design wasn't simply nice to look at (though it was that), it was doing important narrative work, nudging our perceptions of the film's world, supplying us with a meaningful context for its story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That story focused on the Parr family, a super-powered clan of do-gooders forbidden from doing good by a society that looked on them with suspicion and fear. Everything about their need to conform and fit unobtrusively into an unexceptional suburban existence was informed by — and lovingly satirized — patriarchal, Eisenhower-era social norms. (Remember this bit, we'll be coming back to it later.)\u003c/p>\n\u003cp>There's the music, too — Michael Giacchino's score, with its anthemic trumpet-blast and cool percussive beat, stirs the blood even as it lodges, unforgettably, irrevocably, in the brainstem.\u003c/p>\n\u003cp>The villain of the piece proved a chillingly prophetic choice: a toxic fanboy determined to destroy the thing he once loved. Today, of course, such sullen jerks are thick on the ground, and you can't log on to any social media platform without being forced to tiptoe around furiously bubbling pits of their whiny, tarry vitriol.\u003c/p>\n\u003cp>But back in 2004, there were fewer of them, and they were more easily contained. Bird's decision to outfit his bad guy with the tech trappings and remote (and stylish!) secret island headquarters of a classic Bond villain was another smart, knowingly efficient gambit.\u003c/p>\n\u003cp>But the essential reason \u003cem>The Incredibles\u003c/em>' status as Lord King of Superhero Cinema Mountain remains secure is its sure-footed awareness of how superheroes work — of what they are for.\u003c/p>\n\u003cp>Consider its characters' extraordinary powers, so deftly mapped onto their respective, achingly ordinary desires.\u003c/p>\n\u003cp>Bob (voiced by Craig T. Nelson), a traditional patriarch, wants to protect his family through steadfastness and strength; Mr. Incredible is invulnerable and strong. Helen (voiced by Holly Hunter), a traditional matriarch, wants the same thing Bob wants, but achieves it through her limitless adaptability; Elastigirl is adaptability made flesh. Teenage daughter Violet (voiced by Sarah Vowell) wishes to be left alone; her alter ego causes literal walls to manifest around her, and she can vanish at will. Dash (voiced, in the original film, by Spencer Fox) is a ball of heedless, impulsive energy; his heroic, superfast self is impulsiveness incarnate. And baby Jack-Jack is, well, a baby — a formless blob of raw potential who displays a roster of unpredictable powers.\u003c/p>\n\u003cp>Think of the moment when Dash, on the run from some henchmen, inadvertently finds himself running out over a body of water — and notices, with a chuckle of delighted surprise, that he has the ability to run across its surface.\u003c/p>\n\u003cp>That moment, for superhero fans, is heartbreakingly pure — part wish-fulfillment, part joy, part wonder. We're a couple decades into the era of superhero cinema now, but no other film has proved capable of capturing that spry, blissful alchemical blend on a more than intermittent basis. \u003cem>The Incredibles\u003c/em>, on the other hand, lives that alchemy, breathes it, speaks its language in every frame.\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/title/tt3606756/?ref_=fn_al_tt_1\">\u003cem>The Incredibles 2\u003c/em>,\u003c/a> which continues the story of the first film quite literally, does not — and realistically cannot — feel as bracing, as miraculous, as exquisitely wrought as the first film. But all of that film's charming particulars are on hand — the design, the music, the characters (young Dash is voiced, this time out, by Huck Milner).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i5qOzqD9Rms\u003c/p>\n\u003cp>The villain — a mysterious masked figure known as the Screenslaver, who uses television to control the minds of hapless citizens (and heroes) — arrives with a villainous manifesto, albeit a slightly muddier one than that of the first film's nemesis. And that same conceptual muddiness, a byproduct of the sequel's need to expand on and complicate the world of the first film, seeps slowly into the entire film.\u003c/p>\n\u003cp>The action, however, is spectacular and fantastically inventive, whether when the heroes attempt to prevent a subterranean bank robbery, stop a runaway train or engage in any of several basic-laws-of-physics-defying high-speed chases. The story finds ways for its characters — including a handful of new ones — to use their powers in innovative ways, which is something many superhero sequels never bother to think about.\u003c/p>\n\u003cp>And as a work of animation, \u003cem>Incredibles 2 \u003c/em>succeeds on the far-less-showy side of things; digital animation has made great leaps since 2004, necessitating some significant tweaks to the character designs. Textures are richer, so the angular, cartoony approach that made the Parrs look as if they had stepped out of a socio-realist mural in the first film is made, here, more nuanced and realistic. As a result, the character \"acting\" (read: gestures and facial expressions) attains a degree of breathtaking subtlety that reduces the uncanny valley to a shallow trench.\u003c/p>\n\u003cp>The story gives both Elastigirl and Violet far more screen time, and character development, than they received in the first film: Hunter's Helen/Elastigirl gets tapped to become the public face of \"supers\" and clocks serious field time (one of the film's singular joys lies in watching her relish her heroic life so thoroughly), while Violet deals with the repercussions of her high-school crush forgetting her entire existence, thanks to a government-sanctioned mindwipe.\u003c/p>\n\u003cp>The film's laughs, however — of which there are, it must be said, many — feel far less fresh than its action set pieces. The humor is firmly rooted in these characters, as it should be, but it's here that the movie's setting — so clean and and clarifying in the first film — gets in the way.\u003c/p>\n\u003cp>There's a visual and thematic tidiness to placing a story in a retrofuture setting, especially to the extent it serves to underpin the traditional roles assumed by the members of the Parr family: Dad as breadwinner, Mom as she-who-vacuums, etc.\u003c/p>\n\u003cp>But it comes at a cost.\u003c/p>\n\u003cp>Where the first film was content to draft on '50s and '60s visuals as a kind of handy conceptual shorthand, it didn't expect us to believe its events took place during that time or that characters in this fantasy setting were constrained by gender politics of that real-world era. Yes, we often saw Helen flirt with quaintly domestic June Cleaver iconography — feeding the baby, doing laundry — but the script, and Hunter's performance, made it clear that when it came to superheroic chops, her husband was a blunt instrument, while she was an entire precision surgical kit. (Resolved: Mr. Incredible is and has always been Elastigirl's sidekick. Break into response groups to discuss and meet me back here in 15.)\u003c/p>\n\u003cp>That remains true in \u003cem>Incredibles 2\u003c/em>, but only during those scenes when Helen's on her own, kicking butt and taking names. Most of the film's second act is powered, if feebly, by the putative hilarity of watching Bob — \u003cem>the Dad! \u003c/em>-- bluffly insisting he can take care of the kids —\u003cem> the \u003c/em>Dad!\u003cem> Imagine!\u003c/em> — and failing in a variety of spectacular ways. In fairness, he \u003cem>does \u003c/em>have a lot to contend with — baby Jack-Jack will easily prove the breakout star of this film. This is thanks in large part to a hilarious backyard fight scene, which is a good deal more anarchic and violent and risky than the film around it, and wears Bird's affection for Chuck Jones-era Looney Tunes on its sleeve.\u003c/p>\n\u003cp>The film's eagerness to nudge us in the ribs with stale, TGIF-lineup-sitcom jokes about Bob's haplessness in the face of domestic responsibilities is an outgrowth of its retrofuture setting, of course. But in the previous film, such gags were a wink to the audience that faded into the background iconography, into the whole gestalt of the thing. Here, they're front and center, and they're hopelessly hacky, and just... puzzling. \u003cem>Really?\u003c/em> you think. \u003cem>This? Still?\u003c/em>\u003c/p>\n\u003cp>It's by no means a deal-breaker, though, because once again, the action is fittingly spectacular, the music is great, and the whole thing looks fantastic. Plus! The new heroes we meet are fun, the character voiced by Catherine Keener is wonderfully suited to that actress, and Holly Hunter brings grit and heart and intellect to her portrayal, as is her usual, but no less amazing, wont.\u003c/p>\n\u003cp>Plus, not for nothing, Edna Mode is back (once again voiced by Bird) and in fine form. In the public imagination, that character's contribution to the success of this film has been reduced to her catchphrase (\"No capes!\"). But she is one of the best things in two films that are filled with great things, inasmuch as she serves to bring their troubling, much-discussed, pseudo-Randian subtext — namely, that a select few possess a greater inherent value than the teeming masses — into the light...\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>... And make you laugh at it.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Retrofuturistic+%27The+Incredibles+2%27+Is+More+Retro+Than+Futuristic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"The sequel picks up where 2004's 'The Incredibles' started—Mr. Incredible is still fighting domesticity.","status":"publish","parent":0,"modified":1528917778,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1686},"headData":{"title":"The Action-Packed 'Incredibles 2' Puts Elastigirl Front and Center | KQED","description":"The sequel picks up where 2004's 'The Incredibles' started—Mr. Incredible is still fighting domesticity.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Action-Packed 'Incredibles 2' Puts Elastigirl Front and Center","datePublished":"2018-06-13T20:01:08.000Z","dateModified":"2018-06-13T19:22:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"104173 https://ww2.kqed.org/pop/?p=104173","disqusUrl":"https://ww2.kqed.org/pop/2018/06/13/the-action-packed-incredibles-2-puts-elastigirl-front-and-center/","disqusTitle":"The Action-Packed 'Incredibles 2' Puts Elastigirl Front and Center","nprByline":"Glen Weldon","nprImageAgency":"Pixar","nprStoryId":"618908317","nprApiLink":"http://api.npr.org/query?id=618908317&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/monkeysee/2018/06/13/618908317/retrofuturistic-the-incredibles-2-is-more-retro-than-futuristic?ft=nprml&f=618908317","nprRetrievedStory":"1","nprPubDate":"Wed, 13 Jun 2018 05:00:00 -0400","nprStoryDate":"Wed, 13 Jun 2018 05:00:23 -0400","nprLastModifiedDate":"Wed, 13 Jun 2018 05:00:23 -0400","path":"/pop/104173/the-action-packed-incredibles-2-puts-elastigirl-front-and-center","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brad Bird's virtuosic 2004 animated movie \u003ca href=\"https://www.imdb.com/title/tt0317705/?ref_=fn_al_tt_1\">\u003cem>The Incredibles\u003c/em>\u003c/a> is the best superhero film that has ever been made and is likely the best superhero film that ever will be made.\u003c/p>\n\u003cp>This is a fact — a cold, hard one. The massive, resolute, essential truth of this fact is abiding and irresistible and immovable; it possesses its own magnetic field, its own solar day.\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/eZbzbC9285I'\n title='//www.youtube.com/embed/eZbzbC9285I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The reasons are many and varied, and a full accounting of them is not possible within the space of a fleeting human life span. But it's useful, in considering its less-successful sequel, to remind ourselves of at least a handful of its chief virtues.\u003c/p>\n\u003cp>There is the design, of course, for one thing. The film was set in a clean-but-not-sterile retrofuture small-t tomorrowland, one that seemed to emerge fully formed from the drafting table of some particularly whimsical mid-century urban planner. Buildings didn't just dully occupy space, they gracefully swooped and dramatically arced. What's more, that design wasn't simply nice to look at (though it was that), it was doing important narrative work, nudging our perceptions of the film's world, supplying us with a meaningful context for its story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That story focused on the Parr family, a super-powered clan of do-gooders forbidden from doing good by a society that looked on them with suspicion and fear. Everything about their need to conform and fit unobtrusively into an unexceptional suburban existence was informed by — and lovingly satirized — patriarchal, Eisenhower-era social norms. (Remember this bit, we'll be coming back to it later.)\u003c/p>\n\u003cp>There's the music, too — Michael Giacchino's score, with its anthemic trumpet-blast and cool percussive beat, stirs the blood even as it lodges, unforgettably, irrevocably, in the brainstem.\u003c/p>\n\u003cp>The villain of the piece proved a chillingly prophetic choice: a toxic fanboy determined to destroy the thing he once loved. Today, of course, such sullen jerks are thick on the ground, and you can't log on to any social media platform without being forced to tiptoe around furiously bubbling pits of their whiny, tarry vitriol.\u003c/p>\n\u003cp>But back in 2004, there were fewer of them, and they were more easily contained. Bird's decision to outfit his bad guy with the tech trappings and remote (and stylish!) secret island headquarters of a classic Bond villain was another smart, knowingly efficient gambit.\u003c/p>\n\u003cp>But the essential reason \u003cem>The Incredibles\u003c/em>' status as Lord King of Superhero Cinema Mountain remains secure is its sure-footed awareness of how superheroes work — of what they are for.\u003c/p>\n\u003cp>Consider its characters' extraordinary powers, so deftly mapped onto their respective, achingly ordinary desires.\u003c/p>\n\u003cp>Bob (voiced by Craig T. Nelson), a traditional patriarch, wants to protect his family through steadfastness and strength; Mr. Incredible is invulnerable and strong. Helen (voiced by Holly Hunter), a traditional matriarch, wants the same thing Bob wants, but achieves it through her limitless adaptability; Elastigirl is adaptability made flesh. Teenage daughter Violet (voiced by Sarah Vowell) wishes to be left alone; her alter ego causes literal walls to manifest around her, and she can vanish at will. Dash (voiced, in the original film, by Spencer Fox) is a ball of heedless, impulsive energy; his heroic, superfast self is impulsiveness incarnate. And baby Jack-Jack is, well, a baby — a formless blob of raw potential who displays a roster of unpredictable powers.\u003c/p>\n\u003cp>Think of the moment when Dash, on the run from some henchmen, inadvertently finds himself running out over a body of water — and notices, with a chuckle of delighted surprise, that he has the ability to run across its surface.\u003c/p>\n\u003cp>That moment, for superhero fans, is heartbreakingly pure — part wish-fulfillment, part joy, part wonder. We're a couple decades into the era of superhero cinema now, but no other film has proved capable of capturing that spry, blissful alchemical blend on a more than intermittent basis. \u003cem>The Incredibles\u003c/em>, on the other hand, lives that alchemy, breathes it, speaks its language in every frame.\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/title/tt3606756/?ref_=fn_al_tt_1\">\u003cem>The Incredibles 2\u003c/em>,\u003c/a> which continues the story of the first film quite literally, does not — and realistically cannot — feel as bracing, as miraculous, as exquisitely wrought as the first film. But all of that film's charming particulars are on hand — the design, the music, the characters (young Dash is voiced, this time out, by Huck Milner).\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/i5qOzqD9Rms'\n title='//www.youtube.com/embed/i5qOzqD9Rms'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The villain — a mysterious masked figure known as the Screenslaver, who uses television to control the minds of hapless citizens (and heroes) — arrives with a villainous manifesto, albeit a slightly muddier one than that of the first film's nemesis. And that same conceptual muddiness, a byproduct of the sequel's need to expand on and complicate the world of the first film, seeps slowly into the entire film.\u003c/p>\n\u003cp>The action, however, is spectacular and fantastically inventive, whether when the heroes attempt to prevent a subterranean bank robbery, stop a runaway train or engage in any of several basic-laws-of-physics-defying high-speed chases. The story finds ways for its characters — including a handful of new ones — to use their powers in innovative ways, which is something many superhero sequels never bother to think about.\u003c/p>\n\u003cp>And as a work of animation, \u003cem>Incredibles 2 \u003c/em>succeeds on the far-less-showy side of things; digital animation has made great leaps since 2004, necessitating some significant tweaks to the character designs. Textures are richer, so the angular, cartoony approach that made the Parrs look as if they had stepped out of a socio-realist mural in the first film is made, here, more nuanced and realistic. As a result, the character \"acting\" (read: gestures and facial expressions) attains a degree of breathtaking subtlety that reduces the uncanny valley to a shallow trench.\u003c/p>\n\u003cp>The story gives both Elastigirl and Violet far more screen time, and character development, than they received in the first film: Hunter's Helen/Elastigirl gets tapped to become the public face of \"supers\" and clocks serious field time (one of the film's singular joys lies in watching her relish her heroic life so thoroughly), while Violet deals with the repercussions of her high-school crush forgetting her entire existence, thanks to a government-sanctioned mindwipe.\u003c/p>\n\u003cp>The film's laughs, however — of which there are, it must be said, many — feel far less fresh than its action set pieces. The humor is firmly rooted in these characters, as it should be, but it's here that the movie's setting — so clean and and clarifying in the first film — gets in the way.\u003c/p>\n\u003cp>There's a visual and thematic tidiness to placing a story in a retrofuture setting, especially to the extent it serves to underpin the traditional roles assumed by the members of the Parr family: Dad as breadwinner, Mom as she-who-vacuums, etc.\u003c/p>\n\u003cp>But it comes at a cost.\u003c/p>\n\u003cp>Where the first film was content to draft on '50s and '60s visuals as a kind of handy conceptual shorthand, it didn't expect us to believe its events took place during that time or that characters in this fantasy setting were constrained by gender politics of that real-world era. Yes, we often saw Helen flirt with quaintly domestic June Cleaver iconography — feeding the baby, doing laundry — but the script, and Hunter's performance, made it clear that when it came to superheroic chops, her husband was a blunt instrument, while she was an entire precision surgical kit. (Resolved: Mr. Incredible is and has always been Elastigirl's sidekick. Break into response groups to discuss and meet me back here in 15.)\u003c/p>\n\u003cp>That remains true in \u003cem>Incredibles 2\u003c/em>, but only during those scenes when Helen's on her own, kicking butt and taking names. Most of the film's second act is powered, if feebly, by the putative hilarity of watching Bob — \u003cem>the Dad! \u003c/em>-- bluffly insisting he can take care of the kids —\u003cem> the \u003c/em>Dad!\u003cem> Imagine!\u003c/em> — and failing in a variety of spectacular ways. In fairness, he \u003cem>does \u003c/em>have a lot to contend with — baby Jack-Jack will easily prove the breakout star of this film. This is thanks in large part to a hilarious backyard fight scene, which is a good deal more anarchic and violent and risky than the film around it, and wears Bird's affection for Chuck Jones-era Looney Tunes on its sleeve.\u003c/p>\n\u003cp>The film's eagerness to nudge us in the ribs with stale, TGIF-lineup-sitcom jokes about Bob's haplessness in the face of domestic responsibilities is an outgrowth of its retrofuture setting, of course. But in the previous film, such gags were a wink to the audience that faded into the background iconography, into the whole gestalt of the thing. Here, they're front and center, and they're hopelessly hacky, and just... puzzling. \u003cem>Really?\u003c/em> you think. \u003cem>This? Still?\u003c/em>\u003c/p>\n\u003cp>It's by no means a deal-breaker, though, because once again, the action is fittingly spectacular, the music is great, and the whole thing looks fantastic. Plus! The new heroes we meet are fun, the character voiced by Catherine Keener is wonderfully suited to that actress, and Holly Hunter brings grit and heart and intellect to her portrayal, as is her usual, but no less amazing, wont.\u003c/p>\n\u003cp>Plus, not for nothing, Edna Mode is back (once again voiced by Bird) and in fine form. In the public imagination, that character's contribution to the success of this film has been reduced to her catchphrase (\"No capes!\"). But she is one of the best things in two films that are filled with great things, inasmuch as she serves to bring their troubling, much-discussed, pseudo-Randian subtext — namely, that a select few possess a greater inherent value than the teeming masses — into the light...\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>... And make you laugh at it.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Retrofuturistic+%27The+Incredibles+2%27+Is+More+Retro+Than+Futuristic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/104173/the-action-packed-incredibles-2-puts-elastigirl-front-and-center","authors":["byline_pop_104173"],"categories":["pop_51"],"tags":["pop_782","pop_2820","pop_3230"],"featImg":"pop_104174","label":"pop"},"pop_4908":{"type":"posts","id":"pop_4908","meta":{"index":"posts_1591205157","site":"pop","id":"4908","score":null,"sort":[1368709235000]},"guestAuthors":[],"slug":"go-behind-the-scenes-at-currency-from-sfai-at-the-old-mint","title":"Meet the MFA Grads Who Make Us Believe in Art Again","publishDate":1368709235,"format":"aside","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cfigure id=\"attachment_4946\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/05/16/go-behind-the-scenes-at-currency-from-sfai-at-the-old-mint/dimitra/\" rel=\"attachment wp-att-4946\">\u003cimg src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/05/dimitra.jpg\" alt=\"Dimitra Skandali, one of our favorite SFAI grads\" width=\"640\" height=\"360\" class=\"size-full wp-image-4946\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/05/dimitra.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2013/05/dimitra-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://dimitraskandali.com/home.html\">Dimitra Skandali\u003c/a>, one of our favorite SFAI grads\u003c/figcaption>\u003c/figure>\n\u003cp>Every spring art schools around the Bay have final shows to highlight the work of the year's graduating Masters of Fine Arts (in visual arts). If you live here, you know there are a LOT of Masters and a lot of art projects. In San Francisco alone there are shows for the \u003ca href=\"http://www.sfai.edu/event/currency\" target=\"_blank\">San Francisco Art Institute\u003c/a>, \u003ca href=\"http://www.cca.edu/calendar/2013/2013-mfa-thesis-exhibition\" target=\"_blank\">California College of the Arts\u003c/a> and \u003ca href=\"http://art.sfsu.edu/events/2013/04/27/4906\" target=\"_blank\">San Francisco State University\u003c/a>, not to mention \u003ca href=\"http://mcam.mills.edu/exhibitions/current1.php\" target=\"_blank\">Mills\u003c/a> across the Bay in Oakland and don't forget \u003ca href=\"http://art.stanford.edu/galleries-spaces/stanford-art-gallery/\" target=\"_blank\">Stanford\u003c/a> and \u003ca href=\"http://events.berkeley.edu/index.php/calendar/sn/art.html?event_ID=63973\" target=\"_blank\">Berkeley\u003c/a>.\u003c/p>\n\u003cp>This means a lot of work, a lot of artist statements and a whole lot of nervous grads entering a pretty competitive job market. KQED Pop had the chance to head to the Old Mint where SFAI's final show, Currency, is being held from May 15 to 19. While the grads installed their work, we walked around and talked to some of them about why they make art and why we should care. Spoiler: we were impressed and we are hard to impress. Watch the video below and regain a bit of hope for the future of art in America.\u003c/p>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=1yGAJXw1myE&w=560&h=315]\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"As visual artists around the Bay prepare to ascend to rank of Master of Fine Arts, KQED Pop went to the Old Mint to meet the future of the art world.","status":"publish","parent":0,"modified":1368743840,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":210},"headData":{"title":"Meet the MFA Grads Who Make Us Believe in Art Again | KQED","description":"As visual artists around the Bay prepare to ascend to rank of Master of Fine Arts, KQED Pop went to the Old Mint to meet the future of the art world.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Meet the MFA Grads Who Make Us Believe in Art Again","datePublished":"2013-05-16T13:00:35.000Z","dateModified":"2013-05-16T22:37:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"4908 http://blogs.kqed.org/pop/?p=4908","disqusUrl":"https://ww2.kqed.org/pop/2013/05/16/go-behind-the-scenes-at-currency-from-sfai-at-the-old-mint/","disqusTitle":"Meet the MFA Grads Who Make Us Believe in Art Again","path":"/pop/4908/go-behind-the-scenes-at-currency-from-sfai-at-the-old-mint","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_4946\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/05/16/go-behind-the-scenes-at-currency-from-sfai-at-the-old-mint/dimitra/\" rel=\"attachment wp-att-4946\">\u003cimg src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/05/dimitra.jpg\" alt=\"Dimitra Skandali, one of our favorite SFAI grads\" width=\"640\" height=\"360\" class=\"size-full wp-image-4946\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/05/dimitra.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2013/05/dimitra-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://dimitraskandali.com/home.html\">Dimitra Skandali\u003c/a>, one of our favorite SFAI grads\u003c/figcaption>\u003c/figure>\n\u003cp>Every spring art schools around the Bay have final shows to highlight the work of the year's graduating Masters of Fine Arts (in visual arts). If you live here, you know there are a LOT of Masters and a lot of art projects. In San Francisco alone there are shows for the \u003ca href=\"http://www.sfai.edu/event/currency\" target=\"_blank\">San Francisco Art Institute\u003c/a>, \u003ca href=\"http://www.cca.edu/calendar/2013/2013-mfa-thesis-exhibition\" target=\"_blank\">California College of the Arts\u003c/a> and \u003ca href=\"http://art.sfsu.edu/events/2013/04/27/4906\" target=\"_blank\">San Francisco State University\u003c/a>, not to mention \u003ca href=\"http://mcam.mills.edu/exhibitions/current1.php\" target=\"_blank\">Mills\u003c/a> across the Bay in Oakland and don't forget \u003ca href=\"http://art.stanford.edu/galleries-spaces/stanford-art-gallery/\" target=\"_blank\">Stanford\u003c/a> and \u003ca href=\"http://events.berkeley.edu/index.php/calendar/sn/art.html?event_ID=63973\" target=\"_blank\">Berkeley\u003c/a>.\u003c/p>\n\u003cp>This means a lot of work, a lot of artist statements and a whole lot of nervous grads entering a pretty competitive job market. KQED Pop had the chance to head to the Old Mint where SFAI's final show, Currency, is being held from May 15 to 19. While the grads installed their work, we walked around and talked to some of them about why they make art and why we should care. Spoiler: we were impressed and we are hard to impress. Watch the video below and regain a bit of hope for the future of art in America.\u003c/p>\n\u003cdiv class=\"single-video\">\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/1yGAJXw1myE'\n title='//www.youtube.com/embed/1yGAJXw1myE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/4908/go-behind-the-scenes-at-currency-from-sfai-at-the-old-mint","authors":["2421"],"categories":["pop_6"],"tags":["pop_782","pop_321","pop_777","pop_774","pop_779","pop_292","pop_778","pop_775","pop_781","pop_773","pop_772","pop_780","pop_776","pop_21","pop_636"],"featImg":"pop_4946","label":"pop"}},"programsReducer":{"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"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"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. 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You ask the questions. You decide what Bay Curious investigates. 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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":"2"},"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. 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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. 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