window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"pop_106948": {
"type": "attachments",
"id": "pop_106948",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "106948",
"found": true
},
"parent": 106947,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17.jpg",
"width": 2393,
"height": 1346
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/hasanminhaj_wide-20c8cc07e6fa0c6216d180f8b1eed57a9ff9bf17-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1540924885,
"modified": 1540925612,
"caption": "Hasan Minhaj talks about an awful lot in the new Netflix series 'Patriot Act'.",
"description": "Hasan Minhaj talks about an awful lot in the new Netflix series 'Patriot Act'.",
"title": "Hasan Minhaj talks about an awful lot in the new Netflix series Patriot Act.",
"credit": "Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_106760": {
"type": "attachments",
"id": "pop_106760",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "106760",
"found": true
},
"parent": 106753,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1-520x283.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 283
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1-160x87.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 87
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1-960x522.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 522
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1-375x204.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 204
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1.jpg",
"width": 1440,
"height": 783
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1-1020x555.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 555
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1-1180x642.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 642
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1-1200x653.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 653
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1-800x435.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 435
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1-1180x642.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 642
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1-768x418.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 418
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/house-of-cards-season-6-1-1-240x131.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 131
}
},
"publishDate": 1540408613,
"modified": 1540408647,
"caption": "Claire Underwood (Robin Wright) in 'House of Cards'.",
"description": "Claire Underwood (Robin Wright) in 'House of Cards'.",
"title": "Claire Underwood (Robin Wright) in 'House of Cards'.",
"credit": "Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_106721": {
"type": "attachments",
"id": "pop_106721",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "106721",
"found": true
},
"parent": 106718,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-520x260.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 260
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-160x80.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 80
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-960x480.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 480
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-375x187.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 187
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one.jpg",
"width": 4948,
"height": 2473
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-1020x510.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 510
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-1180x590.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 590
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-1200x600.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-800x400.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 400
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-1920x960.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 960
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-1180x590.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 590
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-1920x960.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 960
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-768x384.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 384
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/10/bodyguard-coming-soon-to-bbc-one-240x120.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 120
}
},
"publishDate": 1540322404,
"modified": 1540322442,
"caption": "The BBC's 'Bodyguard' is coming to Netflix.",
"description": "The BBC's 'Bodyguard' is coming to Netflix.",
"title": "The BBC's 'Bodyguard' is coming to Netflix.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_105928": {
"type": "attachments",
"id": "pop_105928",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "105928",
"found": true
},
"parent": 105924,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims.jpg",
"width": 1600,
"height": 900
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/dims-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1537845566,
"modified": 1537845607,
"caption": "Jonah Hill and Emma Stone star in 'Maniac'.",
"description": "Jonah Hill and Emma Stone star in 'Maniac'.",
"title": "dims",
"credit": "Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_105901": {
"type": "attachments",
"id": "pop_105901",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "105901",
"found": true
},
"parent": 105900,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892.jpg",
"width": 4436,
"height": 2495
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/av_201_110000_r_wide-3f11a490168b5dc69bfc3ffbc4bf0470da551892-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1537759003,
"modified": 1537759003,
"caption": null,
"description": "The second season of Netflix's \u003cem>American Vandal\u003c/em> uses several true-crime techniques, like this moody reenactment, to explore its fake-crime story.",
"title": "The second season of Netflix's American Vandal uses several true-crime techniques, like this moody reenactment, to explore its fake-crime story.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_105737": {
"type": "attachments",
"id": "pop_105737",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "105737",
"found": true
},
"parent": 105735,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw.jpg",
"width": 1600,
"height": 900
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/09/fzq5xxmzbquymkfwu9iw-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1536777229,
"modified": 1536865521,
"caption": "Norm Macdonald.",
"description": "Norm Macdonald.",
"title": "fzq5xxmzbquymkfwu9iw",
"credit": "Netflix",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_105047": {
"type": "attachments",
"id": "pop_105047",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "105047",
"found": true
},
"parent": 105043,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs.jpg",
"width": 1280,
"height": 720
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/08/2540076170001_5807855135001_5807849412001-vs-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1533926324,
"modified": 1533926340,
"caption": "'Insatiable' (Netflix)",
"description": null,
"title": "2540076170001_5807855135001_5807849412001-vs",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_104465": {
"type": "attachments",
"id": "pop_104465",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "104465",
"found": true
},
"parent": 104464,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/07/gadsby_wide-42cd8f52f934fbf6a0e782ebd58286862b9d9353-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/07/gadsby_wide-42cd8f52f934fbf6a0e782ebd58286862b9d9353-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/07/gadsby_wide-42cd8f52f934fbf6a0e782ebd58286862b9d9353-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/07/gadsby_wide-42cd8f52f934fbf6a0e782ebd58286862b9d9353.jpg",
"width": 641,
"height": 360
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/07/gadsby_wide-42cd8f52f934fbf6a0e782ebd58286862b9d9353-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/07/gadsby_wide-42cd8f52f934fbf6a0e782ebd58286862b9d9353-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/07/gadsby_wide-42cd8f52f934fbf6a0e782ebd58286862b9d9353-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/07/gadsby_wide-42cd8f52f934fbf6a0e782ebd58286862b9d9353-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/07/gadsby_wide-42cd8f52f934fbf6a0e782ebd58286862b9d9353-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/07/gadsby_wide-42cd8f52f934fbf6a0e782ebd58286862b9d9353-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/07/gadsby_wide-42cd8f52f934fbf6a0e782ebd58286862b9d9353-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1530561428,
"modified": 1530561428,
"caption": null,
"description": "Hannah Gadsby has brought her live show \u003cem>Nanette\u003c/em> to Netflix",
"title": "Hannah Gadsby has brought her live show Nanette to Netflix.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_104403": {
"type": "attachments",
"id": "pop_104403",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "104403",
"found": true
},
"parent": 104402,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a.jpg",
"width": 5329,
"height": 2997
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/kc-bailey-courtesy-of-netflix-1-_wide-2146e969b6312619fe296fbb52775c1e08e9e25a-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1530133222,
"modified": 1530133222,
"caption": null,
"description": "W. Kamau Bell's new Netflix comedy special is\u003cem> Private School Negro\u003c/em>. He says that for him, the word \"negro\" feels \"classically, importantly black.\"",
"title": "W. Kamau Bell's new Netflix comedy special is Private School Negro. He says that for him, the word \"negro\" feels \"classically, importantly black.\"",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_104322": {
"type": "attachments",
"id": "pop_104322",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "104322",
"found": true
},
"parent": 104318,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8.jpg",
"width": 1280,
"height": 720
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/13342ef9628e3cbc69b9866b70a2f20584a846b8-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1529953803,
"modified": 1529953829,
"caption": "Ali Wong, 'Hard Knock Wife' (Netflix)",
"description": null,
"title": "13342ef9628e3cbc69b9866b70a2f20584a846b8",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_104256": {
"type": "attachments",
"id": "pop_104256",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "104256",
"found": true
},
"parent": 104255,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-520x346.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 346
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-960x639.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 639
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949.jpg",
"width": 3000,
"height": 1998
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-1200x799.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 799
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/06/nu3a8576-edit_custom-1d522e8654bd5059599a4ea200b78ab18135f949-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1529519427,
"modified": 1529519605,
"caption": "'Queer Eye' cast members Jonathan Van Ness (left) and Antoni Porowski. Netfilx recently released the show's second season.",
"description": "\u003cem>Queer Eye\u003c/em> cast members Jonathan Van Ness (left) and Antoni Porowski. Netfilx recently released the show's second season.",
"title": "Queer Eye cast members Jonathan Van Ness (left) and Antoni Porowski. Netfilx recently released the show's second season.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_103936": {
"type": "attachments",
"id": "pop_103936",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "103936",
"found": true
},
"parent": 103934,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/05/13-Reasons-Why-saison-2-Clay-et-Skye-bientôt-en-couple-big-520x234.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 234
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/05/13-Reasons-Why-saison-2-Clay-et-Skye-bientôt-en-couple-big-160x72.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 72
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/05/13-Reasons-Why-saison-2-Clay-et-Skye-bientôt-en-couple-big-960x432.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 432
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/05/13-Reasons-Why-saison-2-Clay-et-Skye-bientôt-en-couple-big-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/05/13-Reasons-Why-saison-2-Clay-et-Skye-bientôt-en-couple-big-375x169.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 169
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/05/13-Reasons-Why-saison-2-Clay-et-Skye-bientôt-en-couple-big.jpg",
"width": 1000,
"height": 450
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/05/13-Reasons-Why-saison-2-Clay-et-Skye-bientôt-en-couple-big-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/05/13-Reasons-Why-saison-2-Clay-et-Skye-bientôt-en-couple-big-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/05/13-Reasons-Why-saison-2-Clay-et-Skye-bientôt-en-couple-big-800x360.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 360
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/05/13-Reasons-Why-saison-2-Clay-et-Skye-bientôt-en-couple-big-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/05/13-Reasons-Why-saison-2-Clay-et-Skye-bientôt-en-couple-big-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/05/13-Reasons-Why-saison-2-Clay-et-Skye-bientôt-en-couple-big-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/05/13-Reasons-Why-saison-2-Clay-et-Skye-bientôt-en-couple-big-768x346.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 346
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/05/13-Reasons-Why-saison-2-Clay-et-Skye-bientôt-en-couple-big-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2018/05/13-Reasons-Why-saison-2-Clay-et-Skye-bientôt-en-couple-big-240x108.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 108
}
},
"publishDate": 1527792869,
"modified": 1527792906,
"caption": "Sosie Bacon as Skye Miller in '13 Reasons Why'/ Netflix",
"description": null,
"title": "13-Reasons-Why-saison-2-Clay-et-Skye-bientôt-en-couple-big",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_pop_106947": {
"type": "authors",
"id": "byline_pop_106947",
"meta": {
"override": true
},
"slug": "byline_pop_106947",
"name": "Linda Holmes",
"isLoading": false
},
"byline_pop_106753": {
"type": "authors",
"id": "byline_pop_106753",
"meta": {
"override": true
},
"slug": "byline_pop_106753",
"name": "Eric Deggans",
"isLoading": false
},
"byline_pop_106718": {
"type": "authors",
"id": "byline_pop_106718",
"meta": {
"override": true
},
"slug": "byline_pop_106718",
"name": "John Powers",
"isLoading": false
},
"byline_pop_105924": {
"type": "authors",
"id": "byline_pop_105924",
"meta": {
"override": true
},
"slug": "byline_pop_105924",
"name": "Linda Holmes",
"isLoading": false
},
"byline_pop_105900": {
"type": "authors",
"id": "byline_pop_105900",
"meta": {
"override": true
},
"slug": "byline_pop_105900",
"name": "Glen Weldon",
"isLoading": false
},
"byline_pop_105043": {
"type": "authors",
"id": "byline_pop_105043",
"meta": {
"override": true
},
"slug": "byline_pop_105043",
"name": "Linda Holmes",
"isLoading": false
},
"byline_pop_104464": {
"type": "authors",
"id": "byline_pop_104464",
"meta": {
"override": true
},
"slug": "byline_pop_104464",
"name": "Linda Holmes",
"isLoading": false
},
"byline_pop_104402": {
"type": "authors",
"id": "byline_pop_104402",
"meta": {
"override": true
},
"slug": "byline_pop_104402",
"name": "Terry Gross",
"isLoading": false
},
"byline_pop_104318": {
"type": "authors",
"id": "byline_pop_104318",
"meta": {
"override": true
},
"slug": "byline_pop_104318",
"name": "Linda Holmes",
"isLoading": false
},
"byline_pop_104255": {
"type": "authors",
"id": "byline_pop_104255",
"meta": {
"override": true
},
"slug": "byline_pop_104255",
"name": "David Greene",
"isLoading": false
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
}
},
"pagesReducer": {
"pop_tag_netflix": {
"type": "terms",
"id": "pop_438",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "438",
"score": 8.554767
},
"featImg": null,
"name": "Netflix",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Netflix Archives | KQED Arts",
"ogDescription": null
},
"ttid": 438,
"slug": "netflix",
"isLoading": false,
"title": "Netflix",
"pageMeta": {
"site": "pop",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 3
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/pop?tag=netflix",
"seeMore": false,
"paginated": true,
"page": 3
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"pop_106947": {
"type": "posts",
"id": "pop_106947",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "106947",
"score": null,
"sort": [
1540925964000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1540925964,
"format": "standard",
"disqusTitle": "'Patriot Act with Hasan Minhaj' is Raising the Bar for Political Comedy",
"title": "'Patriot Act with Hasan Minhaj' is Raising the Bar for Political Comedy",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>I never really thought about Dunk Fatigue until I saw Hasan Minhaj, on his new Netflix show \u003ca href=\"https://www.imdb.com/title/tt8080054/?ref_=nv_sr_1\">\u003cem>Patriot Act\u003c/em>\u003c/a>, masterfully working around it.\u003c/p>\n\u003cp>What is Dunk Fatigue? Well, let us take as a baseline that public life currently is full of people who are pretty easy to dunk on. And let us define \"dunk\" as a satisfying joke or barrage of jokes mixed with truths, cathartic and merciless, ostentatious and totally sincere, done in front of an audience eager to cheer. Any time you see a headline that says \"[SO-AND-SO] DESTROYS [SUCH-AND-SUCH] OVER [TOPIC],\" where said destruction takes place in a video you can watch that's just someone talking, that's probably a good old dunk.\u003c/p>\n\u003cp>One of the challenges of a show that involves a lot of dunks, like \u003cem>Last Week Tonight \u003c/em>or \u003cem>Full Frontal with Samantha Bee\u003c/em>, is that after a while, it can find itself dunking on the same people over the same things. The same target who made things up last week made similar things up this week; the same monstrous and dangerous things kept happening because of the same weakness and cravenness, and how many times can you make the same dunk? (That is not to say either of those shows do this exclusively; only that it's part of the late-night post-\u003cem>Daily Show \u003c/em>format, as it was certainly part of \u003cem>The Daily Show \u003c/em>from the beginning.)\u003c/p>\n\u003cp>Minhaj's \u003cem>Patriot Act \u003c/em>has, on the one hand, a host who is as good a dunker as anyone you will ever see. In his 2017 special \u003ca href=\"https://www.imdb.com/title/tt6900644/?ref_=nv_sr_1\">\u003cem>Homecoming King\u003c/em>\u003c/a>, one of the best comedy hours Netflix has released during its time in the business, Minhaj tells a winding story about a girl he knew in high school. Quite unexpectedly, it involves, at one point, his recollection of a moment in which he dunked on this girl so beautifully, and so justly, that once he tells of it, and the audience roars, he has to run a victory lap of sorts across the stage, up and down risers, just to burn off the energy. If Minhaj, himself a \u003cem>Daily Show \u003c/em>graduate, just wanted to dunk on people for a half-hour at a time, he could do it. It would probably keep people who like him happy for a while.\u003c/p>\n\u003cp>But he doesn't. The show finds him not behind a desk but standing in front of a crowd, just like in stand-up. The show looks filmed rather than videotaped, and Minhaj simply addresses the crowd—yes, a little like a funny Ted Talk—and then the show is over. It could be nothing but great dunks. It just isn't.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RW9G-edFuBI\u003c/p>\n\u003cp>Consider this: In neither of the two episodes released on Sunday, each of which primarily covers one story, does Minhaj focus on the current most dunked-upon public figure we have: the president. While the administration figures in both of the central stories, it dominates neither. That may well change in the future, but for the moment, it demonstrates early that whatever he has to say about the president, Minhaj has a lot of other things on his mind that he wants to talk about.\u003c/p>\n\u003cp>The first episode is about the current \u003ca href=\"http://www.wbur.org/onpoint/2018/10/17/harvard-trial-discrimination-affirmative-action\">lawsuit against Harvard\u003c/a> claiming that its affirmative action policy discriminates against Asian-American students. It's a complicated topic that Minhaj has a clear position on and a lot of convictions about. What winds up being most interesting, though, is his shifting focus. He does spend a good part of the segment talking about \u003ca href=\"https://www.bostonglobe.com/2018/06/15/meet-man-behind-harvard-admissions-lawsuit/Y3ANrpg5aP5191ZTutoiRK/story.html\">Ed Blum\u003c/a>, a white man who has provided support for this lawsuit as well as others — a man the WNYC podcast \u003cem>More Perfect\u003c/em> did \u003ca href=\"https://www.wnycstudios.org/story/imperfect-plaintiff\">an episode\u003c/a> about in 2016. But Minhaj eventually broadens the scope to be not just about Blum, but about the thorny question of the involvement of Asian-Americans in the lawsuit and the entanglement of the interests of black families, the interests of other families of color, the interests of Blum and his ilk, and other questions. In other words: It's all well and good to make fun of one guy, but in the end, it's almost never all about one guy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zm5QVcTI2I8\u003c/p>\n\u003cp>The second episode of \u003cem>Patriot Act \u003c/em>is about Saudi Arabia's crown prince Mohammed bin Salman, also called MBS, and the relationship Saudi Arabia has had with the world, and specifically the United States, both before and after the killing of \u003cem>Washington Post\u003c/em> contributing columnist Jamal Khashoggi. The segment is one you might only get in quite this way from Minhaj, out of all the similar hosts out there making nightly or weekly shows. He approaches the story in part as an Indian-American Muslim, explaining the centrality of Saudi Arabia—of the holy cities of Mecca and Medina—to his faith. What follows is not just a blistering critique of the reception MBS has sometimes received around the world or a cry of frustration, although it is both. It's a sophisticated argument that ultimately involves everyone from Oprah to the dog-walking app Wag. (Really.)\u003c/p>\n\u003cp>What \u003cem>Patriot Act \u003c/em>is doing very well in these early episodes is balancing the desire to tell cathartic jokes with the need to think, in a way that incorporates ideas about ethics and morality, about how most stories involve a lot of people and a lot of people's choices. That's what makes some of the jokes feel genuinely daring. (It's sort of funny that out of all the potentially \"oooooooh\"-worthy jokes, the first to get a real \"ooooooh\" out of the audience is a dig at UC Santa Cruz.)\u003c/p>\n\u003cp>\u003cem>Patriot Act \u003c/em>feels a lot like Minhaj's comedy: So far, there are no taped pieces or correspondents. There is him, on a stage, walking around, with some visual aids projected behind him, quite like the setup of his comedy special. His arrival in this space feels emphatic, welcome and exciting. He is a charismatic, undeniably cool, young comic who talks about being Muslim, about being raised by immigrant parents, about racism he's faced and about what he thinks is right and wrong, in clear and sometimes startlingly earnest terms. He's a star; that's been clear at least since \u003cem>Homecoming King\u003c/em>. But out of the gate, he's a star who has also decided to make a good show.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Patriot Act is now streaming its first two episodes on Netflix. New episodes will be available on Sundays.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hasan+Minhaj+Breaks+Through+Dunk+Fatigue+With+%27Patriot+Act%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"disqusIdentifier": "106947 https://ww2.kqed.org/pop/?p=106947",
"disqusUrl": "https://ww2.kqed.org/pop/2018/10/30/patriot-act-with-hasan-minhaj-is-raising-the-bar-for-political-comedy/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1119,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1540926039,
"excerpt": "Minhaj's new show has no desk, no interviewing and no taped segments. It's just one guy off to a very good start.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Minhaj's new show has no desk, no interviewing and no taped segments. It's just one guy off to a very good start.",
"title": "'Patriot Act with Hasan Minhaj' is Raising the Bar for Political Comedy | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Patriot Act with Hasan Minhaj' is Raising the Bar for Political Comedy",
"datePublished": "2018-10-30T11:59:24-07:00",
"dateModified": "2018-10-30T12:00:39-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "patriot-act-with-hasan-minhaj-is-raising-the-bar-for-political-comedy",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=661624301&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Linda Holmes",
"nprStoryDate": "Mon, 29 Oct 2018 05:00:30 -0400",
"nprLastModifiedDate": "Mon, 29 Oct 2018 14:40:51 -0400",
"nprHtmlLink": "https://www.npr.org/2018/10/29/661624301/hasan-minhaj-breaks-through-dunk-fatigue-with-patriot-act?ft=nprml&f=661624301",
"nprImageAgency": "Netflix",
"nprImageCredit": "Cara Howe",
"nprStoryId": "661624301",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 29 Oct 2018 14:40:00 -0400",
"path": "/pop/106947/patriot-act-with-hasan-minhaj-is-raising-the-bar-for-political-comedy",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I never really thought about Dunk Fatigue until I saw Hasan Minhaj, on his new Netflix show \u003ca href=\"https://www.imdb.com/title/tt8080054/?ref_=nv_sr_1\">\u003cem>Patriot Act\u003c/em>\u003c/a>, masterfully working around it.\u003c/p>\n\u003cp>What is Dunk Fatigue? Well, let us take as a baseline that public life currently is full of people who are pretty easy to dunk on. And let us define \"dunk\" as a satisfying joke or barrage of jokes mixed with truths, cathartic and merciless, ostentatious and totally sincere, done in front of an audience eager to cheer. Any time you see a headline that says \"[SO-AND-SO] DESTROYS [SUCH-AND-SUCH] OVER [TOPIC],\" where said destruction takes place in a video you can watch that's just someone talking, that's probably a good old dunk.\u003c/p>\n\u003cp>One of the challenges of a show that involves a lot of dunks, like \u003cem>Last Week Tonight \u003c/em>or \u003cem>Full Frontal with Samantha Bee\u003c/em>, is that after a while, it can find itself dunking on the same people over the same things. The same target who made things up last week made similar things up this week; the same monstrous and dangerous things kept happening because of the same weakness and cravenness, and how many times can you make the same dunk? (That is not to say either of those shows do this exclusively; only that it's part of the late-night post-\u003cem>Daily Show \u003c/em>format, as it was certainly part of \u003cem>The Daily Show \u003c/em>from the beginning.)\u003c/p>\n\u003cp>Minhaj's \u003cem>Patriot Act \u003c/em>has, on the one hand, a host who is as good a dunker as anyone you will ever see. In his 2017 special \u003ca href=\"https://www.imdb.com/title/tt6900644/?ref_=nv_sr_1\">\u003cem>Homecoming King\u003c/em>\u003c/a>, one of the best comedy hours Netflix has released during its time in the business, Minhaj tells a winding story about a girl he knew in high school. Quite unexpectedly, it involves, at one point, his recollection of a moment in which he dunked on this girl so beautifully, and so justly, that once he tells of it, and the audience roars, he has to run a victory lap of sorts across the stage, up and down risers, just to burn off the energy. If Minhaj, himself a \u003cem>Daily Show \u003c/em>graduate, just wanted to dunk on people for a half-hour at a time, he could do it. It would probably keep people who like him happy for a while.\u003c/p>\n\u003cp>But he doesn't. The show finds him not behind a desk but standing in front of a crowd, just like in stand-up. The show looks filmed rather than videotaped, and Minhaj simply addresses the crowd—yes, a little like a funny Ted Talk—and then the show is over. It could be nothing but great dunks. It just isn't.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RW9G-edFuBI'\n title='//www.youtube.com/embed/RW9G-edFuBI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Consider this: In neither of the two episodes released on Sunday, each of which primarily covers one story, does Minhaj focus on the current most dunked-upon public figure we have: the president. While the administration figures in both of the central stories, it dominates neither. That may well change in the future, but for the moment, it demonstrates early that whatever he has to say about the president, Minhaj has a lot of other things on his mind that he wants to talk about.\u003c/p>\n\u003cp>The first episode is about the current \u003ca href=\"http://www.wbur.org/onpoint/2018/10/17/harvard-trial-discrimination-affirmative-action\">lawsuit against Harvard\u003c/a> claiming that its affirmative action policy discriminates against Asian-American students. It's a complicated topic that Minhaj has a clear position on and a lot of convictions about. What winds up being most interesting, though, is his shifting focus. He does spend a good part of the segment talking about \u003ca href=\"https://www.bostonglobe.com/2018/06/15/meet-man-behind-harvard-admissions-lawsuit/Y3ANrpg5aP5191ZTutoiRK/story.html\">Ed Blum\u003c/a>, a white man who has provided support for this lawsuit as well as others — a man the WNYC podcast \u003cem>More Perfect\u003c/em> did \u003ca href=\"https://www.wnycstudios.org/story/imperfect-plaintiff\">an episode\u003c/a> about in 2016. But Minhaj eventually broadens the scope to be not just about Blum, but about the thorny question of the involvement of Asian-Americans in the lawsuit and the entanglement of the interests of black families, the interests of other families of color, the interests of Blum and his ilk, and other questions. In other words: It's all well and good to make fun of one guy, but in the end, it's almost never all about one guy.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zm5QVcTI2I8'\n title='//www.youtube.com/embed/zm5QVcTI2I8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The second episode of \u003cem>Patriot Act \u003c/em>is about Saudi Arabia's crown prince Mohammed bin Salman, also called MBS, and the relationship Saudi Arabia has had with the world, and specifically the United States, both before and after the killing of \u003cem>Washington Post\u003c/em> contributing columnist Jamal Khashoggi. The segment is one you might only get in quite this way from Minhaj, out of all the similar hosts out there making nightly or weekly shows. He approaches the story in part as an Indian-American Muslim, explaining the centrality of Saudi Arabia—of the holy cities of Mecca and Medina—to his faith. What follows is not just a blistering critique of the reception MBS has sometimes received around the world or a cry of frustration, although it is both. It's a sophisticated argument that ultimately involves everyone from Oprah to the dog-walking app Wag. (Really.)\u003c/p>\n\u003cp>What \u003cem>Patriot Act \u003c/em>is doing very well in these early episodes is balancing the desire to tell cathartic jokes with the need to think, in a way that incorporates ideas about ethics and morality, about how most stories involve a lot of people and a lot of people's choices. That's what makes some of the jokes feel genuinely daring. (It's sort of funny that out of all the potentially \"oooooooh\"-worthy jokes, the first to get a real \"ooooooh\" out of the audience is a dig at UC Santa Cruz.)\u003c/p>\n\u003cp>\u003cem>Patriot Act \u003c/em>feels a lot like Minhaj's comedy: So far, there are no taped pieces or correspondents. There is him, on a stage, walking around, with some visual aids projected behind him, quite like the setup of his comedy special. His arrival in this space feels emphatic, welcome and exciting. He is a charismatic, undeniably cool, young comic who talks about being Muslim, about being raised by immigrant parents, about racism he's faced and about what he thinks is right and wrong, in clear and sometimes startlingly earnest terms. He's a star; that's been clear at least since \u003cem>Homecoming King\u003c/em>. But out of the gate, he's a star who has also decided to make a good show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Patriot Act is now streaming its first two episodes on Netflix. New episodes will be available on Sundays.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hasan+Minhaj+Breaks+Through+Dunk+Fatigue+With+%27Patriot+Act%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/106947/patriot-act-with-hasan-minhaj-is-raising-the-bar-for-political-comedy",
"authors": [
"byline_pop_106947"
],
"categories": [
"pop_2696",
"pop_3"
],
"tags": [
"pop_3331",
"pop_438"
],
"featImg": "pop_106948",
"label": "pop"
},
"pop_106753": {
"type": "posts",
"id": "pop_106753",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "106753",
"score": null,
"sort": [
1540408764000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1540408764,
"format": "standard",
"disqusTitle": "Can Season 6 of 'House Of Cards' Keep Pace With Political Reality?",
"title": "Can Season 6 of 'House Of Cards' Keep Pace With Political Reality?",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003cem>\u003cstrong>Note: \u003c/strong>\u003c/em>\u003cem>Spoilers abound for the upcoming and past seasons of \u003c/em>House of Cards\u003cem>.\u003c/em>\u003c/p>\n\u003cp>I wish I could say definitively that the #MeToo-fueled elimination of star Kevin Spacey from Netflix's \u003cem>House of Cards\u003c/em> raised the political drama's game for its final season.\u003c/p>\n\u003cp>Programs like NBC's \u003cem>Today \u003c/em>show actually got better when sexual harassment allegations forced out male stars and talented women stepped up. And the tart line showcased in \u003ca href=\"https://youtu.be/NUL0nQFZEpo?t=24\">one of the teasers\u003c/a> for \u003cem>House of Cards\u003c/em>' new season—\"The reign of the middle-aged white man is over\"—promises an onscreen rebellion that could send the show out on a high note.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2OdjW2WSfp8\u003c/p>\n\u003cp>But \u003cem>House of Cards\u003c/em> was already winding down when sexual harassment and assault allegations against Spacey emerged, eventually prompting Netflix to \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/04/562035100/netflix-dumps-kevin-spacey-from-house-of-cards-amid-harassment-complaints\">fire the actor\u003c/a> and complete an eight-episode \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/12/04/568361068/house-of-cards-will-get-one-more-season-starring-robin-wright\">final season\u003c/a> without him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What I've seen of the new season falls short, mostly proving that the show is ending at the right time. Paradoxically, it's running out of narrative steam at a time when interest in shady, power-hungry politicians couldn't be higher.\u003c/p>\n\u003cp>Without Spacey, the show does have space to focus on a character I always wanted to see more: Robin Wright's Claire Underwood. Wife to Spacey's Frank Underwood, Claire became president last season as her husband resigned the office to engineer a presidential pardon for his crimes. In the final moments of season five, as she ignored calls from Frank, she turned to the camera and said \u003ca href=\"https://www.youtube.com/watch?v=gxPvRQ-xIXA\">\"my turn\"\u003c/a>—at a time when Wright or the show's producers didn't know just how prophetic those words would be.\u003c/p>\n\u003cp>But the first five episodes of the final season reveal just how tiresome the show's machinations have become. Frank Underwood is dead; officially, he died of natural causes, but this is \u003cem>House of Cards, \u003c/em>so suspicions abound. As Claire attempts to assert her vision as president, she must contend with all the people—mostly wealthy, middle-aged white men—who now hope to control her.\u003c/p>\n\u003cp>That patriarchy is personified in Greg Kinnear's Bill Shepherd, a hard-nosed, conservative businessman who seems a bit like a telegenic Koch brother. He runs a powerful, family-controlled conglomerate with his sister Annette, played by Diane Lane. Much of this season's first five episodes are devoted to the Shepherds' attempts to force Claire into doing their bidding, in the same way men—and women who have bought into patriarchal thinking—have tried to control her over her entire life.\u003c/p>\n\u003cp>It sounds like a compelling story, but Claire Underwood remains an icy, tough-to-read cipher through much of it, despite flashbacks to her childhood and that fourth-wall-breaking, talking-to-the-viewers thing that Spacey once did so well.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z1bOPYbBO0o\u003c/p>\n\u003cp>Frank Underwood savored his anti-heroic shenanigans so much, there was a voyeuristic thrill in watching him; Claire still keeps the viewer at a distance. And her constant fight to escape Frank Underwood's shadow cedes much of the spotlight to a dead character no longer on the show.\u003c/p>\n\u003cp>One problem with \u003cem>House of Cards\u003c/em>' return is its timing. Scheduled to drop Nov. 2, days before a hotly contested midterm election, this show features an array of Washington power brokers working to disguise their shady machinations from the public eye. In real life, however, the dysfunction of the Trump White House seems an open book, with new scandals erupting in the press or from the campaign trail every day.\u003c/p>\n\u003cp>When an actual president \u003ca href=\"https://www.npr.org/2018/05/02/607943366/giuliani-says-trump-did-know-about-stormy-daniels-payment\">admits paying a porn star $130,000\u003c/a>—but denies having an affair with her—and \u003ca href=\"https://www.npr.org/2018/10/22/659440282/president-trump-to-campaign-for-former-rival-sen-ted-cruz\">praises a Congressman\u003c/a> who pleaded guilty to assaulting a reporter, it almost seems quaint to focus on a TV president who is threatened with public disclosure of an abortion she had many years ago.\u003c/p>\n\u003cp>That brings up the most unrealistic thing about \u003cem>House of Cards. \u003c/em>(No, it's not the murders and various assaults both Frank and Claire Underwood have \u003cem>personally committed\u003c/em>, though that stuff comes close.) It's this political drama's decided lack of partisanship.\u003c/p>\n\u003cfigure id=\"attachment_106754\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-106754\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-800x533.jpg\" alt=\"Robin Wright's character Claire Underwood (center) ascends to the presidency in the final season of 'House of Cards'.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-1200x799.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robin Wright's character Claire Underwood (center) ascends to the presidency in the final season of 'House of Cards'. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often, it's difficult to keep track of which party various \u003cem>House of Cards\u003c/em> characters are affiliated with—though Frank and Claire have always come across as a fun-house mirror reflection of Democrats and the Clintons. But partisanship fuels everything in real-life politics, which has always made \u003cem>House of Cards\u003c/em> feel a bit like a dark fantasy where America's biggest problems are unscrupulous politicians of every stripe—not the tribalism and propagandizing that destroys consensus on the most basic facts across party lines.\u003c/p>\n\u003cp>The performances here are wonderful, especially Kinnear as controlling power broker Bill Shepherd and Lane as Annette Shepherd—whose rivalry with Claire is tangible and toxic. I've only seen the season's first five episodes, so it's possible the story may take flight later.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a longtime fan, I'm still hoping the show's producers will pull together all the confusing and competing storylines here to give us a portrait of Claire that lives up to \u003cem>House of Cards\u003c/em>' legacy as a once-groundbreaking series. The nation's first female president deserves no less.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Interest+In+Shady+Politicians+Is+Soaring.+Can+%27House+Of+Cards%27+Match+It%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"disqusIdentifier": "106753 https://ww2.kqed.org/pop/?p=106753",
"disqusUrl": "https://ww2.kqed.org/pop/2018/10/24/can-season-6-of-house-of-cards-keep-pace-with-political-reality/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 918,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1540408764,
"excerpt": "Frank Underwood is dead, Claire Underwood is in charge and Season 6 is closer to dark fantasy than reality. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Frank Underwood is dead, Claire Underwood is in charge and Season 6 is closer to dark fantasy than reality. ",
"title": "Can Season 6 of 'House Of Cards' Keep Pace With Political Reality? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Can Season 6 of 'House Of Cards' Keep Pace With Political Reality?",
"datePublished": "2018-10-24T12:19:24-07:00",
"dateModified": "2018-10-24T12:19:24-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "can-season-6-of-house-of-cards-keep-pace-with-political-reality",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=660190744&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Eric Deggans",
"nprStoryDate": "Wed, 24 Oct 2018 12:58:42 -0400",
"nprLastModifiedDate": "Wed, 24 Oct 2018 12:58:42 -0400",
"nprHtmlLink": "https://www.npr.org/2018/10/24/660190744/interest-in-shady-politicians-is-soaring-can-house-of-cards-match-it?ft=nprml&f=660190744",
"nprImageAgency": "Netflix",
"nprImageCredit": "David Giesbrecht",
"nprStoryId": "660190744",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 24 Oct 2018 12:58:00 -0400",
"path": "/pop/106753/can-season-6-of-house-of-cards-keep-pace-with-political-reality",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Note: \u003c/strong>\u003c/em>\u003cem>Spoilers abound for the upcoming and past seasons of \u003c/em>House of Cards\u003cem>.\u003c/em>\u003c/p>\n\u003cp>I wish I could say definitively that the #MeToo-fueled elimination of star Kevin Spacey from Netflix's \u003cem>House of Cards\u003c/em> raised the political drama's game for its final season.\u003c/p>\n\u003cp>Programs like NBC's \u003cem>Today \u003c/em>show actually got better when sexual harassment allegations forced out male stars and talented women stepped up. And the tart line showcased in \u003ca href=\"https://youtu.be/NUL0nQFZEpo?t=24\">one of the teasers\u003c/a> for \u003cem>House of Cards\u003c/em>' new season—\"The reign of the middle-aged white man is over\"—promises an onscreen rebellion that could send the show out on a high note.\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/2OdjW2WSfp8'\n title='//www.youtube.com/embed/2OdjW2WSfp8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But \u003cem>House of Cards\u003c/em> was already winding down when sexual harassment and assault allegations against Spacey emerged, eventually prompting Netflix to \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/04/562035100/netflix-dumps-kevin-spacey-from-house-of-cards-amid-harassment-complaints\">fire the actor\u003c/a> and complete an eight-episode \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/12/04/568361068/house-of-cards-will-get-one-more-season-starring-robin-wright\">final season\u003c/a> without him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What I've seen of the new season falls short, mostly proving that the show is ending at the right time. Paradoxically, it's running out of narrative steam at a time when interest in shady, power-hungry politicians couldn't be higher.\u003c/p>\n\u003cp>Without Spacey, the show does have space to focus on a character I always wanted to see more: Robin Wright's Claire Underwood. Wife to Spacey's Frank Underwood, Claire became president last season as her husband resigned the office to engineer a presidential pardon for his crimes. In the final moments of season five, as she ignored calls from Frank, she turned to the camera and said \u003ca href=\"https://www.youtube.com/watch?v=gxPvRQ-xIXA\">\"my turn\"\u003c/a>—at a time when Wright or the show's producers didn't know just how prophetic those words would be.\u003c/p>\n\u003cp>But the first five episodes of the final season reveal just how tiresome the show's machinations have become. Frank Underwood is dead; officially, he died of natural causes, but this is \u003cem>House of Cards, \u003c/em>so suspicions abound. As Claire attempts to assert her vision as president, she must contend with all the people—mostly wealthy, middle-aged white men—who now hope to control her.\u003c/p>\n\u003cp>That patriarchy is personified in Greg Kinnear's Bill Shepherd, a hard-nosed, conservative businessman who seems a bit like a telegenic Koch brother. He runs a powerful, family-controlled conglomerate with his sister Annette, played by Diane Lane. Much of this season's first five episodes are devoted to the Shepherds' attempts to force Claire into doing their bidding, in the same way men—and women who have bought into patriarchal thinking—have tried to control her over her entire life.\u003c/p>\n\u003cp>It sounds like a compelling story, but Claire Underwood remains an icy, tough-to-read cipher through much of it, despite flashbacks to her childhood and that fourth-wall-breaking, talking-to-the-viewers thing that Spacey once did so well.\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/z1bOPYbBO0o'\n title='//www.youtube.com/embed/z1bOPYbBO0o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Frank Underwood savored his anti-heroic shenanigans so much, there was a voyeuristic thrill in watching him; Claire still keeps the viewer at a distance. And her constant fight to escape Frank Underwood's shadow cedes much of the spotlight to a dead character no longer on the show.\u003c/p>\n\u003cp>One problem with \u003cem>House of Cards\u003c/em>' return is its timing. Scheduled to drop Nov. 2, days before a hotly contested midterm election, this show features an array of Washington power brokers working to disguise their shady machinations from the public eye. In real life, however, the dysfunction of the Trump White House seems an open book, with new scandals erupting in the press or from the campaign trail every day.\u003c/p>\n\u003cp>When an actual president \u003ca href=\"https://www.npr.org/2018/05/02/607943366/giuliani-says-trump-did-know-about-stormy-daniels-payment\">admits paying a porn star $130,000\u003c/a>—but denies having an affair with her—and \u003ca href=\"https://www.npr.org/2018/10/22/659440282/president-trump-to-campaign-for-former-rival-sen-ted-cruz\">praises a Congressman\u003c/a> who pleaded guilty to assaulting a reporter, it almost seems quaint to focus on a TV president who is threatened with public disclosure of an abortion she had many years ago.\u003c/p>\n\u003cp>That brings up the most unrealistic thing about \u003cem>House of Cards. \u003c/em>(No, it's not the murders and various assaults both Frank and Claire Underwood have \u003cem>personally committed\u003c/em>, though that stuff comes close.) It's this political drama's decided lack of partisanship.\u003c/p>\n\u003cfigure id=\"attachment_106754\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-106754\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-800x533.jpg\" alt=\"Robin Wright's character Claire Underwood (center) ascends to the presidency in the final season of 'House of Cards'.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-1200x799.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/houseoc_custom-19b1f0815d6f0001ca2393eac7418d23fd09ae4e-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robin Wright's character Claire Underwood (center) ascends to the presidency in the final season of 'House of Cards'. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often, it's difficult to keep track of which party various \u003cem>House of Cards\u003c/em> characters are affiliated with—though Frank and Claire have always come across as a fun-house mirror reflection of Democrats and the Clintons. But partisanship fuels everything in real-life politics, which has always made \u003cem>House of Cards\u003c/em> feel a bit like a dark fantasy where America's biggest problems are unscrupulous politicians of every stripe—not the tribalism and propagandizing that destroys consensus on the most basic facts across party lines.\u003c/p>\n\u003cp>The performances here are wonderful, especially Kinnear as controlling power broker Bill Shepherd and Lane as Annette Shepherd—whose rivalry with Claire is tangible and toxic. I've only seen the season's first five episodes, so it's possible the story may take flight later.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a longtime fan, I'm still hoping the show's producers will pull together all the confusing and competing storylines here to give us a portrait of Claire that lives up to \u003cem>House of Cards\u003c/em>' legacy as a once-groundbreaking series. The nation's first female president deserves no less.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Interest+In+Shady+Politicians+Is+Soaring.+Can+%27House+Of+Cards%27+Match+It%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/106753/can-season-6-of-house-of-cards-keep-pace-with-political-reality",
"authors": [
"byline_pop_106753"
],
"categories": [
"pop_3"
],
"tags": [
"pop_439",
"pop_3126",
"pop_438"
],
"featImg": "pop_106760",
"label": "pop"
},
"pop_106718": {
"type": "posts",
"id": "pop_106718",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "106718",
"score": null,
"sort": [
1540322738000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1540322738,
"format": "standard",
"disqusTitle": "Smash Hit British Series, 'Bodyguard,' is Coming to Netflix",
"title": "Smash Hit British Series, 'Bodyguard,' is Coming to Netflix",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Near the end of \u003ca href=\"https://www.npr.org/2017/09/05/548632065/novelist-john-le-carr-reflects-on-his-own-legacy-of-spying\">John Le Carré\u003c/a>'s great spy novel \u003cem>Tinker, Tailor, Soldier, Spy\u003c/em>, one of the agents notices that his car's passenger door is unlocked. He instantly begins wondering how that happened. \"Survival,\" he thinks, \"is an infinite capacity for suspicion.\"\u003c/p>\n\u003cp>That capacity gets put to the test in \u003cem>Bodyguard\u003c/em>, a new BBC series created by Jed Mercurio, who's known for his compelling shows about the dark side of public institutions.\u003c/p>\n\u003cp>Unfolding over six episodes, \u003cem>Bodyguard\u003c/em> is decidedly \u003cem>not\u003c/em> a remake of that early '90s Kevin Costner-Whitney Houston movie. Instead, it's a high-powered, state-of-the-art thriller about terrorism, political chicanery and the perils of acting in good faith.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tLfLU6-9lxY\u003c/p>\n\u003cp>The series stars Richard Madden, the handsome Scottish actor best known as Robb Stark on \u003cem>Game of Thrones\u003c/em>. He's actually far better here, playing Sergeant David Budd, an Afghanistan war vet with PTSD and a broken marriage, who now works for the London police as a bodyguard for visiting dignitaries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When we first meet this tightly wound loner, he's just learned that a terrorist plans to bomb the train he's riding. It's a tense, 20-minute opening that announces the show's intention to keep us permanently on the edge of our seats.\u003c/p>\n\u003cp>Sgt. Budd handles the situation so deftly that his boss gives him what looks like a plum assignment. He's sent to protect Julia Montague—played by Keeley Hawes—the home secretary in the Conservative government who, beneath her good looks, possesses a spine of the purest Thatcherite steel.\u003c/p>\n\u003cp>The ruthless Julia intends to supplant her party's prime minister by whipping up fear of terrorism. It's an approach that her bodyguard despises. And, as if that weren't tricky enough, someone is trying to kill Julia. But who could it be? Islamic militants? Renegade elements of the security apparatus? Her Conservative Party enemies?\u003c/p>\n\u003cp>Before he's even settled into the job, Sgt. Budd is dodging assassins' bullets, being ordered to spy on the woman he's protecting and discovering that he finds the home secretary kind of, well, hot.\u003c/p>\n\u003cp>When \u003cem>Bodyguard\u003c/em> aired in the U.K. a couple months ago, it became a national obsession. Not only does the show offer more shocking twists than a tank full of electric eels but its hero is, in many ways, the male version of \u003cem>Homeland\u003c/em>'s charismatic Carrie Mathison: a devoted but psychologically fraying officer who's susceptible to the allures and manipulations of those he should know better than to get entangled with.\u003c/p>\n\u003cp>Sgt. Budd must find his way through a minefield of unreliable characters, including his ex-soldier pal who's hellbent on vengeance, the head of the London police force's anti-terror squad who's at war with MI5 and the Conservative Party's nasty chief whip.\u003c/p>\n\u003cfigure id=\"attachment_106719\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-106719\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-800x450.jpg\" alt=\"Keeley Hawes, Richard Madden and Paul Ready star in 'Bodyguard', coming to Netflix on October 24.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keeley Hawes, Richard Madden and Paul Ready star in 'Bodyguard', coming to Netflix on October 24.\u003c/figcaption>\u003c/figure>\n\u003cp>While all of this makes the series gripping, it doesn't make it serious. Like \u003cem>Homeland\u003c/em>, \u003cem>Scandal\u003c/em>, \u003cem>House of Cards\u003c/em> and their spiritual godfather, \u003cem>24\u003c/em>, \u003cem>Bodyguard\u003c/em> taps into big issues like terrorism and government snooping but only to keep us guessing. More concerned with being a good ride than exploring character or politics, the show is awash in a timely cynicism.\u003c/p>\n\u003cp>The paranoid thrillers of the '60s and '70s—\u003cem>Seven Days in May\u003c/em> or \u003cem>Three Days of the Condor\u003c/em> or \u003cem>All the President's Men\u003c/em>—were made for an audience that assumed a stable, law abiding political system. Such thrillers took their sting from the cautionary suggestion that we didn't know what's really going on, that the system was being threatened by conspirators—rogue generals, rogue spys, even rogue presidents.\u003c/p>\n\u003cp>These days, in both Britain and the U.S., those on both left and right, believe that the state itself has gone rogue. Lawless conspiracy has come to seem so normal that '70s paranoia now seems almost innocent.\u003c/p>\n\u003cp>Without the ballast of a stable world to keep the action anchored, anything becomes possible on today's shows—a corrupt politician shoving a reporter in front of a train in \u003cem>House of Cards\u003c/em>, a sleeper-cell marine murdering the vice-president in his own office in \u003cem>Homeland\u003c/em>. And so it is with \u003cem>Bodyguard\u003c/em>, a finely tuned series whose delirious improbabilities reveal themselves like clockwork.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The show doesn't seek to alert us to the dangers of terrorism and government malfeasance—by now, we've had all the warnings we need. Instead, \u003cem>Bodyguard \u003c/em>reduces the things that scare us to shamelessly white-knuckled entertainment with a neat resolution. Don't worry, it suggests: It's just another thriller.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Take+Thrilling+Comfort+In+%27Bodyguard%2C%27+Where+The+Malfeasance+Is+Just+Fiction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"disqusIdentifier": "106718 https://ww2.kqed.org/pop/?p=106718",
"disqusUrl": "https://ww2.kqed.org/pop/2018/10/23/smash-hit-british-series-bodyguard-is-coming-to-netflix/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 807,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1540322738,
"excerpt": "The cynical, paranoid series that became a national obsession in the UK is as thrilling as the Brits would have us believe.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The cynical, paranoid series that became a national obsession in the UK is as thrilling as the Brits would have us believe.",
"title": "Smash Hit British Series, 'Bodyguard,' is Coming to Netflix | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Smash Hit British Series, 'Bodyguard,' is Coming to Netflix",
"datePublished": "2018-10-23T12:25:38-07:00",
"dateModified": "2018-10-23T12:25:38-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "smash-hit-british-series-bodyguard-is-coming-to-netflix",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=659526648&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Mon, 22 Oct 2018 14:21:00 -0400",
"nprLastModifiedDate": "Mon, 22 Oct 2018 14:29:09 -0400",
"nprHtmlLink": "https://www.npr.org/2018/10/22/659526648/take-thrilling-comfort-in-bodyguard-where-the-malfeasance-is-just-fiction?ft=nprml&f=659526648",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2018/10/20181022_fa_02.mp3?orgId=427869011&topicId=1138&d=441&p=13&story=659526648&ft=nprml&f=659526648",
"nprImageAgency": "Netflix",
"nprAudioM3u": "http://api.npr.org/m3u/1659572499-036d7d.m3u?orgId=427869011&topicId=1138&d=441&p=13&story=659526648&ft=nprml&f=659526648",
"nprStoryId": "659526648",
"nprByline": "John Powers",
"audioTrackLength": 441,
"nprImageCredit": "Sophie Mutevelian/World Producti",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 23 Oct 2018 13:30:00 -0400",
"path": "/pop/106718/smash-hit-british-series-bodyguard-is-coming-to-netflix",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2018/10/20181022_fa_02.mp3?orgId=427869011&topicId=1138&d=441&p=13&story=659526648&ft=nprml&f=659526648",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Near the end of \u003ca href=\"https://www.npr.org/2017/09/05/548632065/novelist-john-le-carr-reflects-on-his-own-legacy-of-spying\">John Le Carré\u003c/a>'s great spy novel \u003cem>Tinker, Tailor, Soldier, Spy\u003c/em>, one of the agents notices that his car's passenger door is unlocked. He instantly begins wondering how that happened. \"Survival,\" he thinks, \"is an infinite capacity for suspicion.\"\u003c/p>\n\u003cp>That capacity gets put to the test in \u003cem>Bodyguard\u003c/em>, a new BBC series created by Jed Mercurio, who's known for his compelling shows about the dark side of public institutions.\u003c/p>\n\u003cp>Unfolding over six episodes, \u003cem>Bodyguard\u003c/em> is decidedly \u003cem>not\u003c/em> a remake of that early '90s Kevin Costner-Whitney Houston movie. Instead, it's a high-powered, state-of-the-art thriller about terrorism, political chicanery and the perils of acting in good faith.\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/tLfLU6-9lxY'\n title='//www.youtube.com/embed/tLfLU6-9lxY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The series stars Richard Madden, the handsome Scottish actor best known as Robb Stark on \u003cem>Game of Thrones\u003c/em>. He's actually far better here, playing Sergeant David Budd, an Afghanistan war vet with PTSD and a broken marriage, who now works for the London police as a bodyguard for visiting dignitaries.\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>When we first meet this tightly wound loner, he's just learned that a terrorist plans to bomb the train he's riding. It's a tense, 20-minute opening that announces the show's intention to keep us permanently on the edge of our seats.\u003c/p>\n\u003cp>Sgt. Budd handles the situation so deftly that his boss gives him what looks like a plum assignment. He's sent to protect Julia Montague—played by Keeley Hawes—the home secretary in the Conservative government who, beneath her good looks, possesses a spine of the purest Thatcherite steel.\u003c/p>\n\u003cp>The ruthless Julia intends to supplant her party's prime minister by whipping up fear of terrorism. It's an approach that her bodyguard despises. And, as if that weren't tricky enough, someone is trying to kill Julia. But who could it be? Islamic militants? Renegade elements of the security apparatus? Her Conservative Party enemies?\u003c/p>\n\u003cp>Before he's even settled into the job, Sgt. Budd is dodging assassins' bullets, being ordered to spy on the woman he's protecting and discovering that he finds the home secretary kind of, well, hot.\u003c/p>\n\u003cp>When \u003cem>Bodyguard\u003c/em> aired in the U.K. a couple months ago, it became a national obsession. Not only does the show offer more shocking twists than a tank full of electric eels but its hero is, in many ways, the male version of \u003cem>Homeland\u003c/em>'s charismatic Carrie Mathison: a devoted but psychologically fraying officer who's susceptible to the allures and manipulations of those he should know better than to get entangled with.\u003c/p>\n\u003cp>Sgt. Budd must find his way through a minefield of unreliable characters, including his ex-soldier pal who's hellbent on vengeance, the head of the London police force's anti-terror squad who's at war with MI5 and the Conservative Party's nasty chief whip.\u003c/p>\n\u003cfigure id=\"attachment_106719\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-106719\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-800x450.jpg\" alt=\"Keeley Hawes, Richard Madden and Paul Ready star in 'Bodyguard', coming to Netflix on October 24.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/10/final_16103606_16103596_wide-eb395520642510b575379f9f3242a2ad69bbd061-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keeley Hawes, Richard Madden and Paul Ready star in 'Bodyguard', coming to Netflix on October 24.\u003c/figcaption>\u003c/figure>\n\u003cp>While all of this makes the series gripping, it doesn't make it serious. Like \u003cem>Homeland\u003c/em>, \u003cem>Scandal\u003c/em>, \u003cem>House of Cards\u003c/em> and their spiritual godfather, \u003cem>24\u003c/em>, \u003cem>Bodyguard\u003c/em> taps into big issues like terrorism and government snooping but only to keep us guessing. More concerned with being a good ride than exploring character or politics, the show is awash in a timely cynicism.\u003c/p>\n\u003cp>The paranoid thrillers of the '60s and '70s—\u003cem>Seven Days in May\u003c/em> or \u003cem>Three Days of the Condor\u003c/em> or \u003cem>All the President's Men\u003c/em>—were made for an audience that assumed a stable, law abiding political system. Such thrillers took their sting from the cautionary suggestion that we didn't know what's really going on, that the system was being threatened by conspirators—rogue generals, rogue spys, even rogue presidents.\u003c/p>\n\u003cp>These days, in both Britain and the U.S., those on both left and right, believe that the state itself has gone rogue. Lawless conspiracy has come to seem so normal that '70s paranoia now seems almost innocent.\u003c/p>\n\u003cp>Without the ballast of a stable world to keep the action anchored, anything becomes possible on today's shows—a corrupt politician shoving a reporter in front of a train in \u003cem>House of Cards\u003c/em>, a sleeper-cell marine murdering the vice-president in his own office in \u003cem>Homeland\u003c/em>. And so it is with \u003cem>Bodyguard\u003c/em>, a finely tuned series whose delirious improbabilities reveal themselves like clockwork.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The show doesn't seek to alert us to the dangers of terrorism and government malfeasance—by now, we've had all the warnings we need. Instead, \u003cem>Bodyguard \u003c/em>reduces the things that scare us to shamelessly white-knuckled entertainment with a neat resolution. Don't worry, it suggests: It's just another thriller.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Take+Thrilling+Comfort+In+%27Bodyguard%2C%27+Where+The+Malfeasance+Is+Just+Fiction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/106718/smash-hit-british-series-bodyguard-is-coming-to-netflix",
"authors": [
"byline_pop_106718"
],
"categories": [
"pop_3"
],
"tags": [
"pop_3011",
"pop_3322",
"pop_438"
],
"featImg": "pop_106721",
"label": "pop"
},
"pop_105924": {
"type": "posts",
"id": "pop_105924",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "105924",
"score": null,
"sort": [
1537845894000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1537845894,
"format": "standard",
"disqusTitle": "Emma Stone Grounds the Funny, Fidgety 'Maniac'",
"title": "Emma Stone Grounds the Funny, Fidgety 'Maniac'",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Television and film set in dreams and hallucinations struggle with the fundamental limitations of the rational mind. Too often, what people experience as visions in TV and movies aren't strange enough. They're slightly bent, but not as off-balance as real dreams and hallucinations tend to be.\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/title/tt5580146/?ref_=nv_sr_1\">\u003cem>Maniac\u003c/em>\u003c/a>, Netflix's new 10-episode series that originates with scientific trials of psychoactive drugs, spends a significant amount of its screentime in artificially induced dreams. Stars Emma Stone and Jonah Hill play Annie and Owen, differently down-on-their-luck test subjects who enter a round of experimentation that looks like wacky scientific experiments often do: put on a gray jumpsuit, take a pill, get in a chair in a sterile room, be strapped in, have something clamped to your head.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=L6cDDmk-O5A\u003c/p>\n\u003cp>We are in the hands of creator Patrick Somerville, who wrote for \u003cem>The Leftovers\u003c/em>, and Cary Fukunaga, one of our most exciting directors. His distinctive style in 2014 made \u003cem>True Detective \u003c/em>appear to be, in retrospect, somewhat more than it really was.\u003c/p>\n\u003cp>Owen is miserable and rich; Annie is miserable and poor. But both have reasons to want to take the drugs that the very weird Dr. Mantleray (Justin Theroux) promises can fix the mind by inducing a series of \"experiences\" within it. For initially unclear reasons, Owen and Annie, despite having met only briefly before they go under, wind up inside each other's dreams. They share visions of both a working-class marriage and upper-crust capers before they begin to wonder why they're connecting and what they should do next.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile — and believe it or not, this is weirder than the part where Owen turns into a bird (long story) — the extremely strange Dr. Mantleray is dealing with his therapist mother (Sally Field), who inspired the creation of his supercomputer and his drug regimen, which are meant to make the services she provides obsolete. (Sally Field, by the way? Still great.) His associate, Dr. Fujita (Sonoya Mizuno), seems at once under his spell and capable of manipulating him; we will learn more about her. Action drifts back and forth between the dreams of Owen and Annie and the almost \u003cem>Joe vs. The Volcano\u003c/em>-like oddball drudgery of the lab in which their physical bodies are resting.\u003c/p>\n\u003cp>Stone is built for this kind of project, having demonstrated in films as varied as \u003cem>La La Land \u003c/em>and \u003cem>Birdman \u003c/em>that she can be a classic leading lady or a grubby character actress, a girl next door or a glamour puss. In the vignettes that come from her dreams, she effortlessly shifts between identities, from '40s movie star to '80s fashion victim to high fantasy... elf-thing. She seems at home in every one, and differently interesting in each.\u003c/p>\n\u003cfigure id=\"attachment_105929\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-105929\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-800x533.jpg\" alt=\"Emma Stone as Annie in 'Maniac'.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone as Annie in 'Maniac'. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hill fares less well in the dream sequences. With one exception, his performances in these varied settings are similar across the board, apart from some awkward efforts to change his speech depending on the character he's playing. When he finally finds himself in a genuinely comedic sequence, when he finally gets a silly wig and a broader stylistic template to work in — you can see him relax, in his element and pretty funny. But he seems adrift in the dramatic elements of this story, despite the fact that he's done well in at least semi-dramatic film roles — he was nominated for Oscars for \u003cem>The Wolf Of Wall Street \u003c/em>and \u003cem>Moneyball\u003c/em>. Perhaps \"low-key\" is just not on his list of strengths; he wouldn't be the first.\u003c/p>\n\u003cp>Everything in \u003cem>Maniac \u003c/em>is bent; even the world outside the lab is full of near-futuristic but dingy technology (little bots that pick up dog poop) as well as uncomfortable glimpses at the direction of consumerism (the \"ad buddy\" is a chilling concept). There are elements of fantasy and comedy and tragedy, hope and the bleak belief that the world will try to squash us all. Its fundamental narrative — two people cast out within their own lives, thrown together against larger and more monstrous forces — isn't all that new, and nor is the concept of using wigs and props to let characters try out new identities in their minds. In fact, the whole thing is based on a Norwegian television series, also called \u003cem>Maniac\u003c/em>.\u003c/p>\n\u003cp>But the look of the thing, and even more the feel of the thing, feels fresh and off-kilter. Theroux's truly bad hair, Field's unwieldy glasses, the way some of the lab displays look like an '80s video game — not to mention Dan Romer's twitchy score, the production design by Alex DiGerlando (also credited with the glam \u003cem>Ocean's Eight\u003c/em>), and some truly great and tense sequences in which Annie and Owen are questioned by Mantleray. It's not perfectly executed, but it's stylish and fun, and Stone is great.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So strap in. So to speak.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Emma+Stone+Grounds+The+Funny%2C+Fidgety+%27Maniac%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"disqusIdentifier": "105924 https://ww2.kqed.org/pop/?p=105924",
"disqusUrl": "https://ww2.kqed.org/pop/2018/09/24/emma-stone-grounds-the-funny-fidgety-maniac/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 850,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1537845894,
"excerpt": "Stone is in top form in Netflix's offbeat comedy-drama that weaves the story of a mad scientist with the dreams of two of his subjects. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Stone is in top form in Netflix's offbeat comedy-drama that weaves the story of a mad scientist with the dreams of two of his subjects. ",
"title": "Emma Stone Grounds the Funny, Fidgety 'Maniac' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Emma Stone Grounds the Funny, Fidgety 'Maniac'",
"datePublished": "2018-09-24T20:24:54-07:00",
"dateModified": "2018-09-24T20:24:54-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "emma-stone-grounds-the-funny-fidgety-maniac",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=649954258&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Linda Holmes",
"nprStoryDate": "Mon, 24 Sep 2018 05:00:00 -0400",
"nprLastModifiedDate": "Mon, 24 Sep 2018 09:01:57 -0400",
"nprHtmlLink": "https://www.npr.org/2018/09/24/649954258/emma-stone-grounds-the-funny-fidgety-maniac?ft=nprml&f=649954258",
"nprImageAgency": "Netflix",
"nprImageCredit": "Michele K. Short",
"nprStoryId": "649954258",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 24 Sep 2018 09:01:00 -0400",
"path": "/pop/105924/emma-stone-grounds-the-funny-fidgety-maniac",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Television and film set in dreams and hallucinations struggle with the fundamental limitations of the rational mind. Too often, what people experience as visions in TV and movies aren't strange enough. They're slightly bent, but not as off-balance as real dreams and hallucinations tend to be.\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/title/tt5580146/?ref_=nv_sr_1\">\u003cem>Maniac\u003c/em>\u003c/a>, Netflix's new 10-episode series that originates with scientific trials of psychoactive drugs, spends a significant amount of its screentime in artificially induced dreams. Stars Emma Stone and Jonah Hill play Annie and Owen, differently down-on-their-luck test subjects who enter a round of experimentation that looks like wacky scientific experiments often do: put on a gray jumpsuit, take a pill, get in a chair in a sterile room, be strapped in, have something clamped to your head.\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/L6cDDmk-O5A'\n title='//www.youtube.com/embed/L6cDDmk-O5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We are in the hands of creator Patrick Somerville, who wrote for \u003cem>The Leftovers\u003c/em>, and Cary Fukunaga, one of our most exciting directors. His distinctive style in 2014 made \u003cem>True Detective \u003c/em>appear to be, in retrospect, somewhat more than it really was.\u003c/p>\n\u003cp>Owen is miserable and rich; Annie is miserable and poor. But both have reasons to want to take the drugs that the very weird Dr. Mantleray (Justin Theroux) promises can fix the mind by inducing a series of \"experiences\" within it. For initially unclear reasons, Owen and Annie, despite having met only briefly before they go under, wind up inside each other's dreams. They share visions of both a working-class marriage and upper-crust capers before they begin to wonder why they're connecting and what they should do next.\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>Meanwhile — and believe it or not, this is weirder than the part where Owen turns into a bird (long story) — the extremely strange Dr. Mantleray is dealing with his therapist mother (Sally Field), who inspired the creation of his supercomputer and his drug regimen, which are meant to make the services she provides obsolete. (Sally Field, by the way? Still great.) His associate, Dr. Fujita (Sonoya Mizuno), seems at once under his spell and capable of manipulating him; we will learn more about her. Action drifts back and forth between the dreams of Owen and Annie and the almost \u003cem>Joe vs. The Volcano\u003c/em>-like oddball drudgery of the lab in which their physical bodies are resting.\u003c/p>\n\u003cp>Stone is built for this kind of project, having demonstrated in films as varied as \u003cem>La La Land \u003c/em>and \u003cem>Birdman \u003c/em>that she can be a classic leading lady or a grubby character actress, a girl next door or a glamour puss. In the vignettes that come from her dreams, she effortlessly shifts between identities, from '40s movie star to '80s fashion victim to high fantasy... elf-thing. She seems at home in every one, and differently interesting in each.\u003c/p>\n\u003cfigure id=\"attachment_105929\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-105929\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-800x533.jpg\" alt=\"Emma Stone as Annie in 'Maniac'.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/09/maniac-netflix-4-1537538637-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone as Annie in 'Maniac'. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hill fares less well in the dream sequences. With one exception, his performances in these varied settings are similar across the board, apart from some awkward efforts to change his speech depending on the character he's playing. When he finally finds himself in a genuinely comedic sequence, when he finally gets a silly wig and a broader stylistic template to work in — you can see him relax, in his element and pretty funny. But he seems adrift in the dramatic elements of this story, despite the fact that he's done well in at least semi-dramatic film roles — he was nominated for Oscars for \u003cem>The Wolf Of Wall Street \u003c/em>and \u003cem>Moneyball\u003c/em>. Perhaps \"low-key\" is just not on his list of strengths; he wouldn't be the first.\u003c/p>\n\u003cp>Everything in \u003cem>Maniac \u003c/em>is bent; even the world outside the lab is full of near-futuristic but dingy technology (little bots that pick up dog poop) as well as uncomfortable glimpses at the direction of consumerism (the \"ad buddy\" is a chilling concept). There are elements of fantasy and comedy and tragedy, hope and the bleak belief that the world will try to squash us all. Its fundamental narrative — two people cast out within their own lives, thrown together against larger and more monstrous forces — isn't all that new, and nor is the concept of using wigs and props to let characters try out new identities in their minds. In fact, the whole thing is based on a Norwegian television series, also called \u003cem>Maniac\u003c/em>.\u003c/p>\n\u003cp>But the look of the thing, and even more the feel of the thing, feels fresh and off-kilter. Theroux's truly bad hair, Field's unwieldy glasses, the way some of the lab displays look like an '80s video game — not to mention Dan Romer's twitchy score, the production design by Alex DiGerlando (also credited with the glam \u003cem>Ocean's Eight\u003c/em>), and some truly great and tense sequences in which Annie and Owen are questioned by Mantleray. It's not perfectly executed, but it's stylish and fun, and Stone is great.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So strap in. So to speak.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Emma+Stone+Grounds+The+Funny%2C+Fidgety+%27Maniac%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/105924/emma-stone-grounds-the-funny-fidgety-maniac",
"authors": [
"byline_pop_105924"
],
"categories": [
"pop_3"
],
"tags": [
"pop_3039",
"pop_3297",
"pop_438"
],
"featImg": "pop_105928",
"label": "pop"
},
"pop_105900": {
"type": "posts",
"id": "pop_105900",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "105900",
"score": null,
"sort": [
1537760095000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1537760095,
"format": "standard",
"disqusTitle": "How to Defend Season 2 of 'American Vandal' Against Naysayers",
"title": "How to Defend Season 2 of 'American Vandal' Against Naysayers",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>The second season of Netflix's \u003cem>\u003ca href=\"https://www.netflix.com/title/80117545\">American Vandal\u003c/a> \u003c/em>dropped last Friday. The first season proved a slow-build, under-the-radar, word-of-mouth phenomenon; the second arrived to a devoted and vocal fanbase. Season one was something you started hearing about over the course of weeks and months, from disparate friends and family; full, spoilery reviews of season two were posted at 12:01:01 a.m. last Friday.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jwrr6aIWeus\u003c/p>\n\u003cp>They're \u003ca href=\"https://www.rottentomatoes.com/tv/American_Vandal/s02/reviews/\">good-to-glowing, those reviews, mostly\u003c/a>. But that's critics. Critics have to make cases, argue on the merits, note the shortcomings — show their work, in other words, citing specific examples.\u003c/p>\n\u003cp>But your friends and family don't. They can simply hold opinions, and voice them, loudly, repeatedly, at your neighborhood bar, over the dinner table or at some friend of a friend's interminable game night.\u003c/p>\n\u003cp>The critics have had their say already. By the end of last weekend, most outlets who were prepared to weigh in on \u003cem>Vandal\u003c/em>'s second season had done so.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But people who don't get paid to think and write about television shows — even those who consider themselves fans of \u003cem>American Vandal\u003c/em> season one — need more time to absorb a season's worth of shows, generally speaking. Most can't drop everything and binge eight episodes; they must work to fit the new season around their schedules of jobs, kids, friends, chores, happy hours, plans.\u003c/p>\n\u003cp>This second weekend, then, after its had time to steep, will be the moment when \u003cem>American Vandal\u003c/em> season two truly becomes a point of discussion, while you're out with friends or spending time with family. We want you to be prepared.\u003c/p>\n\u003cp>You've seen the new season. You've read the reviews, maybe. Inevitably, however, you're going to be faced with someone, or several someones, who think that simply criticizing something is the same thing as critiquing it. Who believe — as many people (and, to be fair, several critics) do, that simply espousing a negative opinion makes the espouser seem somehow smarter and more discerning.\u003c/p>\n\u003cp>They're wrong about that, and if what they're espousing a negative opinion about is\u003cem> American Vandal \u003c/em>season two, they're wrong about that, as well.\u003c/p>\n\u003cp>Here's some of the go-to, reflexive, low-hanging-fruit complaints we've been hearing, and some suggestions on how to respond.\u003c/p>\n\u003cp>\u003cstrong>THEY SAY: \"Without Dylan, there's no heart.\" \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>YOU SAY:\u003c/strong> Granted, Jimmy Tatro's portrayal of Dylan Maxwell — the popular-but-dim, bad-boy chief suspect of \u003cem>American Vandal\u003c/em> season one — was funny and soulful and, ultimately, heartbreaking. He was the season's linchpin, because our affection for him took us along as the show slyly pivoted from true-crime parody to seriocomic meditation on class in America. He was great, and wildly effective. He is missed.\u003c/p>\n\u003cp>But the show's determination to avoid repeating itself manifests in ways large and small — the largest being our chief suspect. Kevin McClain (Travis Tope) is no mouth-breather like Dylan, and he's a good deal more off-putting, with his sundry affectations and bird-like, expressionless stare. That's important, because the poop-related crimes in question are too intricately planned and diabolical for the Dylans of the world to accomplish. No, they're the deranged product of a mind that, we must believe, a kid like Kevin could conceivably possess. It's heart you want? Kevin's tale proves just as sad as Dylan's, but Tope's performance is much more guarded and circumspect than Tatro's garrulous jock could ever be — he makes you work harder for it.\u003c/p>\n\u003cp>And if it's garrulous jocks you miss, season two serves one up, in the form of DeMarcus Tillman (Melvin Gregg), the charming, funny and popular basketball star. Like Dylan before him, DeMarcus is a creature of impulse, not calculation. And like Dylan, he emerges from the season a much different, and more melancholic, person than he was when it began.\u003c/p>\n\u003cp>Both Tope and Gregg do great work, creating achingly recognizable characters grounded in the real world. \u003cem>Vandal \u003c/em>ruthlessly satirizes true-crime conventions, but it's much gentler — even downright sweet — to its characters. It never parodies these kids, or their world. If it did, we couldn't invest enough in their lives to care.\u003c/p>\n\u003cp>\u003cstrong>THEY SAY: \"Season one's d*** jokes were funny, but these s*** jokes are just gross.\"\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>YOU SAY: \u003c/strong>Ok well \u003cem>this \u003c/em>one's tricky, because the world divides itself sharply between Sex-Joke People and Poop-Joke People. They are two militant camps who do not understand — who cannot begin to comprehend — one another.\u003c/p>\n\u003cp>I confess to being sympathetic to those who espouse the above opinion, as I am lifelong Sex-Joke Person, and on any occasion I am forced to interact with a Poop-Joke Person I spend it searching for the nearest exit. This is because sex is fun and embarrassing, while poop is gross and humiliating.\u003c/p>\n\u003cp>That's not a truth universally acknowledged, mystifyingly enough. If it were, the large and thriving whoopie-cushion economy would not exist, to say nothing of the fake-dog-poop industry. The world would be a better place, empirically, but we live in reality. A fallen, gross, poopy reality.\u003c/p>\n\u003cp>Season one's d***-besotted plotline appealed to me, because the thing that made \u003cem>American Vandal\u003c/em> so great was the juxtaposition between its gravid true-crime approach, and its exultantly dumb, juvenile subject: \"Who did the d***s?\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m3tkFOtM6go\u003c/p>\n\u003cp>Season two starts off with poop-related content that some will find hilarious and I, for example, find vile, horrifying and nauseating. It's footage that gets used and re-used often, over the course of the season, never losing its ability to unsettle.\u003c/p>\n\u003cp>But it turns out that this precise overuse — the diligent, dogmatic dissection of that footage — is what makes \u003cem>American Vandal\u003c/em> work, not the footage itself. The series is forcing us to look at some pretty gross things — but its true subject is \u003cem>how we look at things now\u003c/em>. The techniques and tropes of true-crime, with its dense web of theories and conjecture and red herrings and reversals, is really what \u003cem>American Vandal \u003c/em>wants us to examine. Last season, it was \"Look at what happens when we bring all of this elaborate narrative infrastructure to bear on something as meaningless on some spray-painted Toyotas.\" This season it's \"Look at what happens when we take the same approach and apply it to poop-shame.\"\u003c/p>\n\u003cp>Again, the approach is the appeal, here, and it proves gratifyingly versatile. And that bodes well for next season, which, if past is prologue, will take up as its ostensible subject some entirely different bodily process/product.\u003c/p>\n\u003cp>Smart money's on boogers, but don't count out pus. Pus is looking good for 2019.\u003c/p>\n\u003cp>\u003cstrong>THEY SAY: \"Not enough Peter and Sam.\"\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>YOU SAY:\u003c/strong> We get plenty of Peter and Sam (the excellent Tyler Alvarez and Griffin Cluck) this season — they're our narrators, our Greek chorus. No, they don't get their own storylines, like the first season's temporary breakup, but that's only to be expected. They've done the documentary meta-jokes already. Instead, this season is about deepening their characters' established traits. Peter is driven and impulsive, Sam the voice of reason.\u003c/p>\n\u003cp>But if that's not enough for you, keep an eye out for the suggestion of a romantic spark between Sam and Chloe (Taylor Dearden).\u003c/p>\n\u003cp>\u003cstrong>THEY SAY: \"Season one was about how kids' fates can get irrevocably sealed early on, depending on their means. This season is just about the mystery itself, without any larger, deeper subject.\" \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>YOU SAY: \u003c/strong>Anyone who voices this opinion clearly hasn't made it to the final episode, which ends with a lengthy disquisition on The Culture Of Social Media Today. It's heavy handed, sure — but again: That's exactly the point. True-crime series love to reach for deep meaning in their closing minutes, with ponderous narration and performative empathy. It's a way for creators to shield themselves from accusations of exploiting the crime and its victims. So that last speech may be wildly unnecessary, but it's on-brand.\u003c/p>\n\u003cp>It also happens to be accurate. While the first season of \u003cem>Vandal \u003c/em>used social media the way many other high-school-set shows and movies do today — to build out the world and place characters in a recognizable context — season two ultimately becomes \u003cem>about \u003c/em>social media: online personae, ruined reputations, the conflation of one's personality with one's personal brand. It's specific, and relevant, without any of the sanctimony and judgment you find in shows like \u003cem>CSI \u003c/em>and, frankly, \u003cem>13 Reasons Why.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>THEY SAY: \"I miss Mr. Kraz!\"\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>YOU SAY: \u003c/strong>Okay well look we \u003cem>all \u003c/em>miss The Kraz. Ryan O'Flanagan's shaggy haired, tragically hip tryhard teacher willing to say anything — \u003cem>anything \u003c/em>— to ingratiate himself with his students was someone we all recognize. He was, like the series around him, equal parts funny and sad.\u003c/p>\n\u003cp>But season two offers a winning variation on that pitiable theme, with Sarah Burns' Vonnegut stan, Miss Montgomery. I'd put her blissfully self-deluded speech about how much the kids love Vonnegut's birthday alongside any Kraz scene.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>... So there you have it. We hope that, armed with these responses, you will be able to go toe-to-toe in discussions of \u003cem>American Vandal\u003c/em> season two with anyone who tries to dump on it.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+To+Defend+Season+2+Of+%27American+Vandal%27+Against+Its+Naysayers+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"disqusIdentifier": "105900 https://ww2.kqed.org/pop/?p=105900",
"disqusUrl": "https://ww2.kqed.org/pop/2018/09/23/how-to-defend-season-2-of-american-vandal-against-naysayers/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1628,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 35
},
"modified": 1537760095,
"excerpt": "Now that enough people have seen the second season of Netflix's comedy/drama/true crime parody, get ready to argue about it.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Now that enough people have seen the second season of Netflix's comedy/drama/true crime parody, get ready to argue about it.",
"title": "How to Defend Season 2 of 'American Vandal' Against Naysayers | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "How to Defend Season 2 of 'American Vandal' Against Naysayers",
"datePublished": "2018-09-23T20:34:55-07:00",
"dateModified": "2018-09-23T20:34:55-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "how-to-defend-season-2-of-american-vandal-against-naysayers",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=649496872&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Glen Weldon",
"nprStoryDate": "Sat, 22 Sep 2018 07:00:38 -0400",
"nprLastModifiedDate": "Sat, 22 Sep 2018 07:00:38 -0400",
"nprHtmlLink": "https://www.npr.org/2018/09/22/649496872/how-to-defend-season-2-of-american-vandal-against-its-naysayers?ft=nprml&f=649496872",
"nprImageAgency": "Netflix",
"nprStoryId": "649496872",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 22 Sep 2018 07:00:00 -0400",
"path": "/pop/105900/how-to-defend-season-2-of-american-vandal-against-naysayers",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The second season of Netflix's \u003cem>\u003ca href=\"https://www.netflix.com/title/80117545\">American Vandal\u003c/a> \u003c/em>dropped last Friday. The first season proved a slow-build, under-the-radar, word-of-mouth phenomenon; the second arrived to a devoted and vocal fanbase. Season one was something you started hearing about over the course of weeks and months, from disparate friends and family; full, spoilery reviews of season two were posted at 12:01:01 a.m. last Friday.\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/jwrr6aIWeus'\n title='//www.youtube.com/embed/jwrr6aIWeus'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>They're \u003ca href=\"https://www.rottentomatoes.com/tv/American_Vandal/s02/reviews/\">good-to-glowing, those reviews, mostly\u003c/a>. But that's critics. Critics have to make cases, argue on the merits, note the shortcomings — show their work, in other words, citing specific examples.\u003c/p>\n\u003cp>But your friends and family don't. They can simply hold opinions, and voice them, loudly, repeatedly, at your neighborhood bar, over the dinner table or at some friend of a friend's interminable game night.\u003c/p>\n\u003cp>The critics have had their say already. By the end of last weekend, most outlets who were prepared to weigh in on \u003cem>Vandal\u003c/em>'s second season had done so.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But people who don't get paid to think and write about television shows — even those who consider themselves fans of \u003cem>American Vandal\u003c/em> season one — need more time to absorb a season's worth of shows, generally speaking. Most can't drop everything and binge eight episodes; they must work to fit the new season around their schedules of jobs, kids, friends, chores, happy hours, plans.\u003c/p>\n\u003cp>This second weekend, then, after its had time to steep, will be the moment when \u003cem>American Vandal\u003c/em> season two truly becomes a point of discussion, while you're out with friends or spending time with family. We want you to be prepared.\u003c/p>\n\u003cp>You've seen the new season. You've read the reviews, maybe. Inevitably, however, you're going to be faced with someone, or several someones, who think that simply criticizing something is the same thing as critiquing it. Who believe — as many people (and, to be fair, several critics) do, that simply espousing a negative opinion makes the espouser seem somehow smarter and more discerning.\u003c/p>\n\u003cp>They're wrong about that, and if what they're espousing a negative opinion about is\u003cem> American Vandal \u003c/em>season two, they're wrong about that, as well.\u003c/p>\n\u003cp>Here's some of the go-to, reflexive, low-hanging-fruit complaints we've been hearing, and some suggestions on how to respond.\u003c/p>\n\u003cp>\u003cstrong>THEY SAY: \"Without Dylan, there's no heart.\" \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>YOU SAY:\u003c/strong> Granted, Jimmy Tatro's portrayal of Dylan Maxwell — the popular-but-dim, bad-boy chief suspect of \u003cem>American Vandal\u003c/em> season one — was funny and soulful and, ultimately, heartbreaking. He was the season's linchpin, because our affection for him took us along as the show slyly pivoted from true-crime parody to seriocomic meditation on class in America. He was great, and wildly effective. He is missed.\u003c/p>\n\u003cp>But the show's determination to avoid repeating itself manifests in ways large and small — the largest being our chief suspect. Kevin McClain (Travis Tope) is no mouth-breather like Dylan, and he's a good deal more off-putting, with his sundry affectations and bird-like, expressionless stare. That's important, because the poop-related crimes in question are too intricately planned and diabolical for the Dylans of the world to accomplish. No, they're the deranged product of a mind that, we must believe, a kid like Kevin could conceivably possess. It's heart you want? Kevin's tale proves just as sad as Dylan's, but Tope's performance is much more guarded and circumspect than Tatro's garrulous jock could ever be — he makes you work harder for it.\u003c/p>\n\u003cp>And if it's garrulous jocks you miss, season two serves one up, in the form of DeMarcus Tillman (Melvin Gregg), the charming, funny and popular basketball star. Like Dylan before him, DeMarcus is a creature of impulse, not calculation. And like Dylan, he emerges from the season a much different, and more melancholic, person than he was when it began.\u003c/p>\n\u003cp>Both Tope and Gregg do great work, creating achingly recognizable characters grounded in the real world. \u003cem>Vandal \u003c/em>ruthlessly satirizes true-crime conventions, but it's much gentler — even downright sweet — to its characters. It never parodies these kids, or their world. If it did, we couldn't invest enough in their lives to care.\u003c/p>\n\u003cp>\u003cstrong>THEY SAY: \"Season one's d*** jokes were funny, but these s*** jokes are just gross.\"\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>YOU SAY: \u003c/strong>Ok well \u003cem>this \u003c/em>one's tricky, because the world divides itself sharply between Sex-Joke People and Poop-Joke People. They are two militant camps who do not understand — who cannot begin to comprehend — one another.\u003c/p>\n\u003cp>I confess to being sympathetic to those who espouse the above opinion, as I am lifelong Sex-Joke Person, and on any occasion I am forced to interact with a Poop-Joke Person I spend it searching for the nearest exit. This is because sex is fun and embarrassing, while poop is gross and humiliating.\u003c/p>\n\u003cp>That's not a truth universally acknowledged, mystifyingly enough. If it were, the large and thriving whoopie-cushion economy would not exist, to say nothing of the fake-dog-poop industry. The world would be a better place, empirically, but we live in reality. A fallen, gross, poopy reality.\u003c/p>\n\u003cp>Season one's d***-besotted plotline appealed to me, because the thing that made \u003cem>American Vandal\u003c/em> so great was the juxtaposition between its gravid true-crime approach, and its exultantly dumb, juvenile subject: \"Who did the d***s?\"\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/m3tkFOtM6go'\n title='//www.youtube.com/embed/m3tkFOtM6go'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Season two starts off with poop-related content that some will find hilarious and I, for example, find vile, horrifying and nauseating. It's footage that gets used and re-used often, over the course of the season, never losing its ability to unsettle.\u003c/p>\n\u003cp>But it turns out that this precise overuse — the diligent, dogmatic dissection of that footage — is what makes \u003cem>American Vandal\u003c/em> work, not the footage itself. The series is forcing us to look at some pretty gross things — but its true subject is \u003cem>how we look at things now\u003c/em>. The techniques and tropes of true-crime, with its dense web of theories and conjecture and red herrings and reversals, is really what \u003cem>American Vandal \u003c/em>wants us to examine. Last season, it was \"Look at what happens when we bring all of this elaborate narrative infrastructure to bear on something as meaningless on some spray-painted Toyotas.\" This season it's \"Look at what happens when we take the same approach and apply it to poop-shame.\"\u003c/p>\n\u003cp>Again, the approach is the appeal, here, and it proves gratifyingly versatile. And that bodes well for next season, which, if past is prologue, will take up as its ostensible subject some entirely different bodily process/product.\u003c/p>\n\u003cp>Smart money's on boogers, but don't count out pus. Pus is looking good for 2019.\u003c/p>\n\u003cp>\u003cstrong>THEY SAY: \"Not enough Peter and Sam.\"\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>YOU SAY:\u003c/strong> We get plenty of Peter and Sam (the excellent Tyler Alvarez and Griffin Cluck) this season — they're our narrators, our Greek chorus. No, they don't get their own storylines, like the first season's temporary breakup, but that's only to be expected. They've done the documentary meta-jokes already. Instead, this season is about deepening their characters' established traits. Peter is driven and impulsive, Sam the voice of reason.\u003c/p>\n\u003cp>But if that's not enough for you, keep an eye out for the suggestion of a romantic spark between Sam and Chloe (Taylor Dearden).\u003c/p>\n\u003cp>\u003cstrong>THEY SAY: \"Season one was about how kids' fates can get irrevocably sealed early on, depending on their means. This season is just about the mystery itself, without any larger, deeper subject.\" \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>YOU SAY: \u003c/strong>Anyone who voices this opinion clearly hasn't made it to the final episode, which ends with a lengthy disquisition on The Culture Of Social Media Today. It's heavy handed, sure — but again: That's exactly the point. True-crime series love to reach for deep meaning in their closing minutes, with ponderous narration and performative empathy. It's a way for creators to shield themselves from accusations of exploiting the crime and its victims. So that last speech may be wildly unnecessary, but it's on-brand.\u003c/p>\n\u003cp>It also happens to be accurate. While the first season of \u003cem>Vandal \u003c/em>used social media the way many other high-school-set shows and movies do today — to build out the world and place characters in a recognizable context — season two ultimately becomes \u003cem>about \u003c/em>social media: online personae, ruined reputations, the conflation of one's personality with one's personal brand. It's specific, and relevant, without any of the sanctimony and judgment you find in shows like \u003cem>CSI \u003c/em>and, frankly, \u003cem>13 Reasons Why.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>THEY SAY: \"I miss Mr. Kraz!\"\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>YOU SAY: \u003c/strong>Okay well look we \u003cem>all \u003c/em>miss The Kraz. Ryan O'Flanagan's shaggy haired, tragically hip tryhard teacher willing to say anything — \u003cem>anything \u003c/em>— to ingratiate himself with his students was someone we all recognize. He was, like the series around him, equal parts funny and sad.\u003c/p>\n\u003cp>But season two offers a winning variation on that pitiable theme, with Sarah Burns' Vonnegut stan, Miss Montgomery. I'd put her blissfully self-deluded speech about how much the kids love Vonnegut's birthday alongside any Kraz scene.\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>... So there you have it. We hope that, armed with these responses, you will be able to go toe-to-toe in discussions of \u003cem>American Vandal\u003c/em> season two with anyone who tries to dump on it.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+To+Defend+Season+2+Of+%27American+Vandal%27+Against+Its+Naysayers+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/105900/how-to-defend-season-2-of-american-vandal-against-naysayers",
"authors": [
"byline_pop_105900"
],
"categories": [
"pop_3"
],
"tags": [
"pop_3296",
"pop_438"
],
"featImg": "pop_105901",
"label": "pop"
},
"pop_105735": {
"type": "posts",
"id": "pop_105735",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "105735",
"score": null,
"sort": [
1536865562000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1536865562,
"format": "standard",
"disqusTitle": "That Awful Norm Macdonald Interview is Actually a Gift",
"title": "That Awful Norm Macdonald Interview is Actually a Gift",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Ex-\u003ca href=\"https://en.wikipedia.org/wiki/Weekend_Update\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Weekend Update\u003c/em>\u003c/a> anchor, five-season \u003cem>SNL\u003c/em> cast member and stand-up comedian Norm Macdonald has just found himself a trending topic for the first time in, well, ever, thanks to a dunderheaded interview with\u003ca href=\"https://www.hollywoodreporter.com/news/why-norm-macdonalds-new-talk-show-wont-target-trump-1141832\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> The Hollywood Reporter\u003c/em>\u003c/a>. In the interview, Macdonald dug himself into crater-sized holes on topics including #MeToo, racism, Roseanne Barr and the so-called politicization of late-night. He's come under such heavy fire for it that \u003ca href=\"https://www.huffingtonpost.com/entry/norm-macdonald-tonight-show-jimmy-fallon-cancel_us_5b98cfa4e4b0162f47324531\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Late Show\u003c/em> canceled an appearance\u003c/a> he was scheduled to make.\u003c/p>\n\u003cp>https://twitter.com/onlxn/status/1039544732320296960\u003c/p>\n\u003cp>https://twitter.com/iamtherog/status/1039597585340801024\u003c/p>\n\u003cp>Indeed, Macdonald's Q&A makes for a jaw-dropping and deeply frustrating read. In it, amongst other things, he says he's \"happy the #MeToo movement has slowed down a little bit.\" On job losses related to the movement, he says, \"That's not healthy—that there is no forgiveness,\" and that \"the victims didn't have to\" lose \"everything in a day\" the way that their famous abusers have.\u003c/p>\n\u003cp>Macdonald also explains that he has \"always faced...the lunacy of the left,\" but, until he watched Sacha Baron Cohen's \u003ca href=\"https://www.kqed.org/pop/105638/sacha-baron-cohen-is-getting-sued-by-roy-moore-over-who-is-america\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Who is America?\u003c/em>\u003c/a> series, he \"never really bought into this notion that everybody is racist—because there was a Black president, you know?\" Yet he asserts that his friend Roseanne Barr, who recently lost her job over \u003ca href=\"https://www.nytimes.com/2018/05/29/business/media/roseanne-barr-offensive-tweets.html\" target=\"_blank\" rel=\"noopener noreferrer\">a racist tweet\u003c/a>, is \"certainly not racist. That's just crazy.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That people are upset over the interview is entirely understandable, but there is a silver lining to this whole sorry story. What Macdonald has just given us is the insight we've been waiting for about why powerful men have turned a blind eye to so much awful, for so long, and just how much they fundamentally don't understand what everyone else deals with.\u003c/p>\n\u003cp>As #MeToo and #TimesUp have progressed, it has been difficult to fathom why so many famous men are so hesitant to speak up or be allies. Just days ago, Olivia Munn found herself objecting, entirely alone, about Shane Black's decision to cast a convicted sex offender in \u003cem>The Predator\u003c/em>. Perplexingly, of all of her castmates, only one—\u003ca href=\"https://thegrapevine.theroot.com/sterling-k-brown-responds-to-predator-backlash-after-o-1828935384\" target=\"_blank\" rel=\"noopener noreferrer\">Sterling K. Brown—has spoken up\u003c/a> in support of Munn.\u003c/p>\n\u003cp>At January's Golden Globes, despite a room full of \u003ca href=\"https://www.kqed.org/pop/tag/golden-globes\" target=\"_blank\" rel=\"noopener noreferrer\">women wearing black\u003c/a> and dedicating the entire night to speaking out about #TimesUp, the vast majority of male attendees (\u003ca href=\"https://www.refinery29.com/2018/01/187308/golden-globes-men-didnt-support-women-times-up-speeches\" target=\"_blank\" rel=\"noopener noreferrer\">even the ones accepting awards for playing domestic abusers\u003c/a>) stayed silent on the subject. It was impossible not to wonder what they were all so afraid of.\u003c/p>\n\u003cp>Season 10 of \u003ca href=\"http://comediansincarsgettingcoffee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Comedians in Cars Getting Coffee\u003c/em>\u003c/a> offered us some insight when it premiered in June. Jerry Seinfeld and his guests made repeated references to #MeToo that were, frankly, mystifying. In one episode, on his way to pick up Kate McKinnon, Seinfeld calls her.\u003c/p>\n\u003cp>\"Are you here?\" McKinnon asks. \"Should I, like, um, come to the car?\"\u003c/p>\n\u003cp>Bafflingly, Seinfeld responds: \"I would appreciate it if you were not so suggestive in the white-hot, radioactive, sexual misconduct rodeo world we now live in.\" Seinfeld doesn't appear to be joking. McKinnon shouts \"Oh my GOD!\" in disbelief.\u003c/p>\n\u003cp>In another episode, \u003ca href=\"https://www.thedailybeast.com/alec-baldwin-to-jerry-seinfeld-metoo-makes-me-scared-to-touch-my-wife\" target=\"_blank\" rel=\"noopener noreferrer\">Alec Baldwin displays a similar confusion about basic human interactions with women.\u003c/a> “I put my arm around my wife the other day,\" Baldwin tells Seinfeld, \"and literally my arm... like, it was an electric charge. I put my arm around my wife’s waist and then went, ‘Oh, I’m sorry! Was that inappropriate?’”\u003c/p>\n\u003cp>In yet another episode, Seinfeld, standing outside the Beverly Hills hotel where Harvey Weinstein is said to have assaulted a number of his victims, says “You know Harvey Weinstein is in there somewhere?\" His guest, Dana Carvey, responds: “Are you going to try and top people about how disgusted you are? It’s a competition online.”\u003c/p>\n\u003cp>If \u003cem>Comedians in Cars Getting Coffee\u003c/em> gave us vignettes into the incredibly confused world of Successful White Men, the Norm Macdonald interview has given us the full story. What is now clear is that a lot of them can't figure out where the lines are because they are much more likely to be friends with one of the accused than they are to be friends with an accuser.\u003c/p>\n\u003cp>The interview finally gives us an insight into the root of the unwillingness to look outside of one's own bubble. Rather than trying to understand the perspectives of victims, these men simply skirt the issue and carry on with their lives. They seem to think that, like Indiana Jones at the end of \u003cem>Raiders of the Lost Ark\u003c/em>, if they close their eyes when faced with the explosion, their not seeing anything will somehow save them.\u003c/p>\n\u003cp>One of the most remarkable expressions of that kind of privilege happens when Macdonald brings up, of his own accord, \u003ca href=\"https://www.kqed.org/pop/104464/flipping-out-over-hannah-gadsbys-nanette-on-netflix-youre-not-alone\" target=\"_blank\" rel=\"noopener noreferrer\">Hannah Gadsby's \u003c/a>\u003cem>Nanette, \u003c/em>the critically acclaimed Netflix special that stunned audiences with its explorations of misogyny and homophobia. \"I have never seen the \u003cem>Nanette\u003c/em> thing because I never wanted to comment on it,\" he says.\u003c/p>\n\u003cp>[aside postid='arts_13903062']Remarkably, Macdonald does, in fact, then go on to comment on \u003cem>Nanette\u003c/em> at some length, entirely secure in expressing potentially damaging opinions about a lesser known, queer, female comedian, having never bothered to even watch her show. \"From what I have read about it,\" he says, \"[Gadsby] is saying that comedy is now not about laughter.\" (At no point during \u003cem>Nanette\u003c/em> does Gadsby say this.) \"And of course that's a slap in the face of a traditional stand-up comedian who thinks that comedy by dictionary definition is about laughter.\"\u003c/p>\n\u003cp>\"\u003cem>Nanette\u003c/em> doesn't sound like stand-up to me,\" Macdonald continues. \"That sounds like a one-woman show. And one-person shows are, to me, incredibly powerful. But it's not stand-up comedy and it's not the same thing.\"\u003c/p>\n\u003cp>And there it is: the sound of a successful man writing off a less famous woman's work before he's even seen it, and subsequently asking for it to be removed from his own male-dominated profession and pushed into a more marginalized genre solely dedicated to the expressions of women. In doing this so casually, and with such an inherent lack of self-awareness, Macdonald unintentionally demonstrates exactly how women are kept on the fringes of so many professions. If you've ever wondered how so many glass ceilings got installed in the first place, Macdonald just basically gave us a tutorial.\u003c/p>\n\u003cp>For so many months now, it has been impossible to grasp why self-confessed sexual harassers like \u003ca href=\"http://www.vulture.com/2018/04/charlie-rose-will-reportedly-host-a-show-about-metoo.html\" target=\"_blank\" rel=\"noopener noreferrer\">Charlie Rose\u003c/a> and \u003ca href=\"https://www.nytimes.com/2018/08/27/arts/television/louis-ck-performs-comedy.html\" target=\"_blank\" rel=\"noopener noreferrer\">Louis CK\u003c/a> feel fine about inching their way towards career revivals before they've even sat out one year. It's been confusing to watch famous men look away from industry-wide problems even while they're being highlighted by a national spotlight. And it's been difficult to figure out if these men were being unhelpful for villainous reasons, or ones that had more to do with callous self-centeredness. Macdonald just proved it's more about the latter than the former—not that it changes the end result any.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Truly, Norm Macdonald's interview, in its obliviousness, has captured the very crux of white, wealthy, straight, male privilege. We finally have some real insight into the corners that have stayed the most silent all these months, and, most importantly, we can now understand why those corners were so quiet in the first place: complicity.\u003c/p>\n\n",
"disqusIdentifier": "105735 https://ww2.kqed.org/pop/?p=105735",
"disqusUrl": "https://ww2.kqed.org/pop/2018/09/13/that-awful-norm-macdonald-interview-is-actually-a-gift/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1275,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 21
},
"modified": 1631664910,
"excerpt": "If you've ever wondered why so many famous men fail to speak up as allies to women and minorities, Norm Macdonald just gave us all the answers.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "If you've ever wondered why so many famous men fail to speak up as allies to women and minorities, Norm Macdonald just gave us all the answers.",
"title": "That Awful Norm Macdonald Interview is Actually a Gift - KQED Pop",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "That Awful Norm Macdonald Interview is Actually a Gift",
"datePublished": "2018-09-13T12:06:02-07:00",
"dateModified": "2021-09-14T17:15:10-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "that-awful-norm-macdonald-interview-is-actually-a-gift",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"path": "/pop/105735/that-awful-norm-macdonald-interview-is-actually-a-gift",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ex-\u003ca href=\"https://en.wikipedia.org/wiki/Weekend_Update\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Weekend Update\u003c/em>\u003c/a> anchor, five-season \u003cem>SNL\u003c/em> cast member and stand-up comedian Norm Macdonald has just found himself a trending topic for the first time in, well, ever, thanks to a dunderheaded interview with\u003ca href=\"https://www.hollywoodreporter.com/news/why-norm-macdonalds-new-talk-show-wont-target-trump-1141832\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> The Hollywood Reporter\u003c/em>\u003c/a>. In the interview, Macdonald dug himself into crater-sized holes on topics including #MeToo, racism, Roseanne Barr and the so-called politicization of late-night. He's come under such heavy fire for it that \u003ca href=\"https://www.huffingtonpost.com/entry/norm-macdonald-tonight-show-jimmy-fallon-cancel_us_5b98cfa4e4b0162f47324531\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Late Show\u003c/em> canceled an appearance\u003c/a> he was scheduled to make.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1039544732320296960"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1039597585340801024"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Indeed, Macdonald's Q&A makes for a jaw-dropping and deeply frustrating read. In it, amongst other things, he says he's \"happy the #MeToo movement has slowed down a little bit.\" On job losses related to the movement, he says, \"That's not healthy—that there is no forgiveness,\" and that \"the victims didn't have to\" lose \"everything in a day\" the way that their famous abusers have.\u003c/p>\n\u003cp>Macdonald also explains that he has \"always faced...the lunacy of the left,\" but, until he watched Sacha Baron Cohen's \u003ca href=\"https://www.kqed.org/pop/105638/sacha-baron-cohen-is-getting-sued-by-roy-moore-over-who-is-america\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Who is America?\u003c/em>\u003c/a> series, he \"never really bought into this notion that everybody is racist—because there was a Black president, you know?\" Yet he asserts that his friend Roseanne Barr, who recently lost her job over \u003ca href=\"https://www.nytimes.com/2018/05/29/business/media/roseanne-barr-offensive-tweets.html\" target=\"_blank\" rel=\"noopener noreferrer\">a racist tweet\u003c/a>, is \"certainly not racist. That's just crazy.\"\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 people are upset over the interview is entirely understandable, but there is a silver lining to this whole sorry story. What Macdonald has just given us is the insight we've been waiting for about why powerful men have turned a blind eye to so much awful, for so long, and just how much they fundamentally don't understand what everyone else deals with.\u003c/p>\n\u003cp>As #MeToo and #TimesUp have progressed, it has been difficult to fathom why so many famous men are so hesitant to speak up or be allies. Just days ago, Olivia Munn found herself objecting, entirely alone, about Shane Black's decision to cast a convicted sex offender in \u003cem>The Predator\u003c/em>. Perplexingly, of all of her castmates, only one—\u003ca href=\"https://thegrapevine.theroot.com/sterling-k-brown-responds-to-predator-backlash-after-o-1828935384\" target=\"_blank\" rel=\"noopener noreferrer\">Sterling K. Brown—has spoken up\u003c/a> in support of Munn.\u003c/p>\n\u003cp>At January's Golden Globes, despite a room full of \u003ca href=\"https://www.kqed.org/pop/tag/golden-globes\" target=\"_blank\" rel=\"noopener noreferrer\">women wearing black\u003c/a> and dedicating the entire night to speaking out about #TimesUp, the vast majority of male attendees (\u003ca href=\"https://www.refinery29.com/2018/01/187308/golden-globes-men-didnt-support-women-times-up-speeches\" target=\"_blank\" rel=\"noopener noreferrer\">even the ones accepting awards for playing domestic abusers\u003c/a>) stayed silent on the subject. It was impossible not to wonder what they were all so afraid of.\u003c/p>\n\u003cp>Season 10 of \u003ca href=\"http://comediansincarsgettingcoffee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Comedians in Cars Getting Coffee\u003c/em>\u003c/a> offered us some insight when it premiered in June. Jerry Seinfeld and his guests made repeated references to #MeToo that were, frankly, mystifying. In one episode, on his way to pick up Kate McKinnon, Seinfeld calls her.\u003c/p>\n\u003cp>\"Are you here?\" McKinnon asks. \"Should I, like, um, come to the car?\"\u003c/p>\n\u003cp>Bafflingly, Seinfeld responds: \"I would appreciate it if you were not so suggestive in the white-hot, radioactive, sexual misconduct rodeo world we now live in.\" Seinfeld doesn't appear to be joking. McKinnon shouts \"Oh my GOD!\" in disbelief.\u003c/p>\n\u003cp>In another episode, \u003ca href=\"https://www.thedailybeast.com/alec-baldwin-to-jerry-seinfeld-metoo-makes-me-scared-to-touch-my-wife\" target=\"_blank\" rel=\"noopener noreferrer\">Alec Baldwin displays a similar confusion about basic human interactions with women.\u003c/a> “I put my arm around my wife the other day,\" Baldwin tells Seinfeld, \"and literally my arm... like, it was an electric charge. I put my arm around my wife’s waist and then went, ‘Oh, I’m sorry! Was that inappropriate?’”\u003c/p>\n\u003cp>In yet another episode, Seinfeld, standing outside the Beverly Hills hotel where Harvey Weinstein is said to have assaulted a number of his victims, says “You know Harvey Weinstein is in there somewhere?\" His guest, Dana Carvey, responds: “Are you going to try and top people about how disgusted you are? It’s a competition online.”\u003c/p>\n\u003cp>If \u003cem>Comedians in Cars Getting Coffee\u003c/em> gave us vignettes into the incredibly confused world of Successful White Men, the Norm Macdonald interview has given us the full story. What is now clear is that a lot of them can't figure out where the lines are because they are much more likely to be friends with one of the accused than they are to be friends with an accuser.\u003c/p>\n\u003cp>The interview finally gives us an insight into the root of the unwillingness to look outside of one's own bubble. Rather than trying to understand the perspectives of victims, these men simply skirt the issue and carry on with their lives. They seem to think that, like Indiana Jones at the end of \u003cem>Raiders of the Lost Ark\u003c/em>, if they close their eyes when faced with the explosion, their not seeing anything will somehow save them.\u003c/p>\n\u003cp>One of the most remarkable expressions of that kind of privilege happens when Macdonald brings up, of his own accord, \u003ca href=\"https://www.kqed.org/pop/104464/flipping-out-over-hannah-gadsbys-nanette-on-netflix-youre-not-alone\" target=\"_blank\" rel=\"noopener noreferrer\">Hannah Gadsby's \u003c/a>\u003cem>Nanette, \u003c/em>the critically acclaimed Netflix special that stunned audiences with its explorations of misogyny and homophobia. \"I have never seen the \u003cem>Nanette\u003c/em> thing because I never wanted to comment on it,\" he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13903062",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Remarkably, Macdonald does, in fact, then go on to comment on \u003cem>Nanette\u003c/em> at some length, entirely secure in expressing potentially damaging opinions about a lesser known, queer, female comedian, having never bothered to even watch her show. \"From what I have read about it,\" he says, \"[Gadsby] is saying that comedy is now not about laughter.\" (At no point during \u003cem>Nanette\u003c/em> does Gadsby say this.) \"And of course that's a slap in the face of a traditional stand-up comedian who thinks that comedy by dictionary definition is about laughter.\"\u003c/p>\n\u003cp>\"\u003cem>Nanette\u003c/em> doesn't sound like stand-up to me,\" Macdonald continues. \"That sounds like a one-woman show. And one-person shows are, to me, incredibly powerful. But it's not stand-up comedy and it's not the same thing.\"\u003c/p>\n\u003cp>And there it is: the sound of a successful man writing off a less famous woman's work before he's even seen it, and subsequently asking for it to be removed from his own male-dominated profession and pushed into a more marginalized genre solely dedicated to the expressions of women. In doing this so casually, and with such an inherent lack of self-awareness, Macdonald unintentionally demonstrates exactly how women are kept on the fringes of so many professions. If you've ever wondered how so many glass ceilings got installed in the first place, Macdonald just basically gave us a tutorial.\u003c/p>\n\u003cp>For so many months now, it has been impossible to grasp why self-confessed sexual harassers like \u003ca href=\"http://www.vulture.com/2018/04/charlie-rose-will-reportedly-host-a-show-about-metoo.html\" target=\"_blank\" rel=\"noopener noreferrer\">Charlie Rose\u003c/a> and \u003ca href=\"https://www.nytimes.com/2018/08/27/arts/television/louis-ck-performs-comedy.html\" target=\"_blank\" rel=\"noopener noreferrer\">Louis CK\u003c/a> feel fine about inching their way towards career revivals before they've even sat out one year. It's been confusing to watch famous men look away from industry-wide problems even while they're being highlighted by a national spotlight. And it's been difficult to figure out if these men were being unhelpful for villainous reasons, or ones that had more to do with callous self-centeredness. Macdonald just proved it's more about the latter than the former—not that it changes the end result any.\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>Truly, Norm Macdonald's interview, in its obliviousness, has captured the very crux of white, wealthy, straight, male privilege. We finally have some real insight into the corners that have stayed the most silent all these months, and, most importantly, we can now understand why those corners were so quiet in the first place: complicity.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/105735/that-awful-norm-macdonald-interview-is-actually-a-gift",
"authors": [
"11242"
],
"categories": [
"pop_2696",
"pop_1041"
],
"tags": [
"pop_3126",
"pop_438",
"pop_3292"
],
"featImg": "pop_105737",
"label": "pop"
},
"pop_105043": {
"type": "posts",
"id": "pop_105043",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "105043",
"score": null,
"sort": [
1533926951000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1533926951,
"format": "standard",
"disqusTitle": "'Insatiable' Isn't As Bad As You Assumed—It's Much, Much Worse",
"title": "'Insatiable' Isn't As Bad As You Assumed—It's Much, Much Worse",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>If only the worst thing about Netflix's\u003ca href=\"https://www.imdb.com/title/tt6487482/?ref_=nv_sr_1\"> \u003cem>Insatiable\u003c/em> \u003c/a>were its lazy portrayals of fat people \u003cem>or \u003c/em>its tone-deaf deployment of sexual assault and abuse as comedy \u003cem>or\u003c/em> its embrace of racist tropes \u003cem>or \u003c/em>its portrayals of people with Southern accents as dumb hicks \u003cem>or \u003c/em>its white-hot conviction that same-sex attraction is either inherently hilarious or a teaching moment.\u003c/p>\n\u003cp>Oh, if only.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z-81WVD8xTs\u003c/p>\n\u003cp>Don't misunderstand: It deserves every word of the \u003ca href=\"https://variety.com/2018/tv/news/insatiable-fat-shaming-netflix-show-1202882565/\">early petitioning\u003c/a> after its trailer was released about how its fat-suit yuks come cheaply and at the expense of the already maligned. But the show on the whole — and I know, because I fruitlessly watched all 12 episodes like I was running deeper and deeper into a burning building in search of a swimming pool that would never materialize — is more to be puzzled over than despised. This is the purest evidence yet that Netflix has plenty of seasons of \u003cem>Friends \u003c/em>and a lot of cute avatar options but no quality control.\u003c/p>\n\u003cp>No, my friends, Netflix is a big old stuff bucket. And when the stuff poured from the bucket is good, it's not because it needed to be.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Insatiable \u003c/em>begins with a fat 17-year-old named Patty (Patty was not a popular name in 2001, but it rhymes with \"Fatty,\" so), who suddenly loses 70 pounds in three months. \"How?\" you might ask. And I would say, \"Well, naturally, it was because she had her jaw wired shut.\" Here, you might furrow your brow and say, \"Why was her jaw wired shut?\" And I would say, \"Because she was punched by a homeless man!\" If you are not already doubled over with the sheer hilarity of it, you might say, \"Why did a homeless man punch her?\" And I would say, \"Because she punched him first!\"\u003c/p>\n\u003cp>Now here, you might reasonably ask me why Patty punched a homeless man, and I would warn you that once you heard the answer, you would feel the plunge of your once-vibrant soul into the depths of this very bad idea — the first sign that no matter how bad you have heard that \u003cem>Insatiable\u003c/em> is, no matter how bad the petitions have concluded that it is, it is worse.\u003c/p>\n\u003cp>Because the answer to why Patty punched a homeless man is: \u003cem>He tried to steal her candy bar.\u003c/em> Protecting candy to the point of violence is sort of the \"jump to light speed\" of ridiculing your fat characters — it shorthands their shameful appetites, their lack of rationality and discipline, their single-minded prey drive, and their infantile attachment to foods mostly associated with children. This is nothing more or less than the fastest (and, let me add, the most clichéd) way to dehumanize a teenage girl along this particular axis. It is the padded \u003ca href=\"https://www.youtube.com/watch?v=Biek0t1CuMA\">Jenna Maroney growling \"ME WANT FOOOOOD!\"\u003c/a> on \u003cem>30 Rock\u003c/em>, if that had been intended to develop a character you would later be expected to really care about.\u003c/p>\n\u003cfigure id=\"attachment_105046\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-105046\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-160x80.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-960x480.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-240x120.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-375x188.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-520x260.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">'Insatiable' (Netflix)\u003c/figcaption>\u003c/figure>\n\u003cp>Since all but the first few minutes of Patty's story involve Patty as a thin girl, these early scenes show star Debby Ryan, a very thin actress, in a fat suit. What that means is that her fat body is just a thin girl galumphing around strapped up in pillows she is not used to, meaning she can only appear graceless and unformed, like a guy on a street corner in a hot dog costume. To the degree a real fat girl might have a sway to her hips, a comfort in her stance or a center of gravity she has learned to navigate, you'll never get a look at it this way.\u003c/p>\n\u003cp>Given that Patty loses all this weight via having her jaw wired shut, they skip the process of having her body change — in other words, the actual transformation part of the transformation story. She just suddenly shows up in the same rail-thin body most actresses have, looking nothing whatsoever like people who lose a large amount of weight in a short time. In the world of \u003cem>Insatiable\u003c/em>, Patty lives the dream in which an external force simply peels weight off of her without her having any agency whatsoever, and she wakes up looking the way she has always wanted to look. And other than at a couple of highly emotional moments when she binge-eats in scenes portrayed as grotesque, her weight and her eating habits are never an issue again. This, it should go without saying, is generally not how it goes.\u003c/p>\n\u003cp>Patty meets Bob Armstrong (Dallas Roberts), a lawyer and former pageant coach who has been disgraced by a false accusation of sexual abuse (played for comedy as a screaming, scheming mother makes the accusation out of pure spite). Bob represents Patty when she is prosecuted for punching the candy-stealer, and Patty gets out of trouble by — what a coincidence! — falsely claiming that she punched the man because she feared a sexual assault. (If you're keeping score, that is two false accusations in the first episode.) Bob realizes that Patty's newly acceptable body is his ticket back into pageants. Before you know it, Bob and Patty are pursuing the title of Miss Magic Jesus (?), while Patty nurses a sudden, inexplicable, all-consuming crush on Bob.\u003c/p>\n\u003cp>\"But of course,\" you may protest as these absurdities accumulate, \"realism is beside the point! It is satire!\"\u003c/p>\n\u003cp>Let me assure you: It is not satire. \u003cem>Insatiable \u003c/em>is satire in the same way someone who screams profanities out a car window is a spoken-word poet. Satire requires a point of view; this has none. It generally requires some feel for humor, however dark; this has none. It requires a mastery of tone; this has none. It requires a sense that the actors are all part of the same project; this has none.\u003c/p>\n\u003cp>Eventually, a whole mess of characters inhabit this world: Patty's alcoholic, neglectful mother who begins feeling competitive with Patty the minute she gets thin; Coralee, Bob's narcissistic social-climber wife (Alyssa Milano, \u003cem>why are you here?\u003c/em>), who begins feeling competitive with Patty once Bob starts coaching her; Bob's often shirtless rival (Christopher Gorham, \u003cem>why\u003c/em>?), with whom Bob shares allegedly hilarious homoerotic energy in the early episodes; Patty's best friend Nonnie, the one person who loved her when she was fat ... let's see, who else, who else?\u003c/p>\n\u003cfigure id=\"attachment_105044\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-105044\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-520x292.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b.jpg 2038w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob (Dallas Roberts) and Patty (Debby Ryan) in 'Insatiable' (Netflix).\u003c/figcaption>\u003c/figure>\n\u003cp>Oh, right: Bob and Coralee's teenage son, Brick, who is sleeping with one of the mothers of one of Patty's high school rivals. This story is treated as extremely funny, and the mother as gloriously trashy, and nobody seems too terribly concerned about the fact that it involves an adult having sex with a minor.\u003c/p>\n\u003cp>Looking from a distance at the plot description, it would be easy to wonder whether it's something genuinely daring, a look at the dark underbelly of ... something or other. Maybe it's inspired by the likes of \u003ca href=\"https://www.imdb.com/title/tt0114681/?ref_=nv_sr_1\">\u003cem>To Die For\u003c/em>\u003c/a>, or \u003ca href=\"https://www.imdb.com/title/tt0126886/?ref_=fn_al_tt_1\">\u003cem>Election\u003c/em>\u003c/a>, or ... something? Surely, some of this can be attributed to same kind of wackadoodle speed-plotting as, say, \u003ca href=\"https://www.imdb.com/title/tt3566726/?ref_=fn_al_tt_1\">\u003cem>Jane the Virgin\u003c/em>?\u003c/a>\u003c/p>\n\u003cp>No. No, no. Understand: The biggest problem with this show is not that it's crazy or offensive. It certainly is obnoxious in its treatment of all kinds of people — on top of the insulting fat-suit stuff, it contains other tropes and types best avoided: an awkward and unsexy Asian-American boy, a magical sassy godmother who is fat \u003cem>and \u003c/em>black \u003cem>and \u003c/em>a lesbian who exists only to educate thin white girls on how to live their best lives, and so forth.\u003c/p>\n\u003cp>But it's so much more than that. Story elements are introduced and then abandoned. Jokes fall flat, flatter, flattest. Patty swerves without reason or nuance from eye-narrowing, vengeance-swearing vixen to lip-quivering, damp-eyed waif. A character who loves someone in one scene will hate them in the next. Characters who have been kind will be cruel and vice versa, without any explanation or motive.\u003c/p>\n\u003cp>Perhaps nothing in \u003cem>Insatiable\u003c/em> is more bizarre than the attempts to hammer viewers with unearned emotional notes. You may recall that there were no deeply felt Very Special Episodes of \u003cem>Seinfeld \u003c/em>or \u003cem>30 Rock\u003c/em>, because they would have been so out of place — the way they are here.\u003c/p>\n\u003cp>While \u003cem>Insatiable \u003c/em>would like you to excuse its considerable meanness as satire or even \u003ca href=\"https://www.vanityfair.com/hollywood/2018/08/insatiable-netflix-controversy-fatty-patty-petition-creator-lauren-gussis\">good-doing\u003c/a>, the truth is that it's often tooth-tinglingly saccharine. Series creator Lauren Gussis and some of the members of the cast have claimed that the show is about revealing the negative effects of bullying and fat shaming, which may well have been the good-faith intent at one time, but which is nowhere in the final product. It's fair, though, to say the show isn't always shaming Patty, exactly, just as Alyssa Milano has said it isn't on Twitter. It is often \u003cem>pitying \u003c/em>Patty.\u003c/p>\n\u003cp>That's probably the one way in which the trailer that caused so much aggravation is, in fact, not representative of the show: The trailer focuses on the parts of the series where Patty is crazy and vengeful, and it doesn't address the parts where Patty is pathetic and miserable, which are also plentiful. For instance, we get to see Patty at one point, thin and looking precisely like a model in a magazine, weeping in a dressing room in a bikini because she's convinced that she's fat and ugly. She is assured by Nonnie that this is no longer the case. Certainly, misapprehending the reality of your own looks is a real thing worth addressing! But the buck-up-little-buddy message of this sequence is not \"love yourself no matter how you look\" or \"fat shaming is bad.\" It's \"even if you don't see it, you are in fact thin and pretty!\" Nothing here is challenging what categories of people deserve love; only whether Patty can learn to accept that she's been in the good category ever since they wired her jaw shut.\u003c/p>\n\u003cp>Maybe the intent is to say Patty always deserved love, but there is no way — none — around the fact that if what you want to demonstrate in a story is that someone deserves love in a particular state of being, you must show them being loved in that state. And if you, the storyteller, can't bring yourself to show it, you probably don't quite believe it.\u003c/p>\n\u003cp>The only way this show could have been saved would have been making it shorter by degrees of magnitude. \u003cem>Insatiable \u003c/em>might have made, with most of its extraneous plot elements and stereotypes excised, a passable if simplistic movie. A girl who suddenly becomes skinny and wrongly believes that it will fix everything? It probably would not have been good, and it sure would not have been new, but it would have been less bad than this. And very late in the game, there is a chunk of Bob's story — maybe 10 minutes or so of screen time — that's nicely done and worth watching, though not nearly as revolutionary as it thinks it is and not at all reconcilable with things that happened earlier. But still! It's something.\u003c/p>\n\u003cp>But oh, it is a slog. There are 12 episodes, some as long as 51 or 52 minutes long. There's just way, way too much of it. As with a Minnesota winter or an oral surgery, \u003cem>Insatiable\u003c/em>'s duration is almost more punishing than the experience itself. Filler follows filler, blind alley follows blind alley. There's a paternity test! There's an exorcism! None of it is relevant!\u003c/p>\n\u003cp>What's funny — what took me several long episodes to realize — is that I could have forgiven \u003cem>Insatiable\u003c/em> for the insulting premise identifiable from its trailer. I would have. I know, because I've done it, over and over, more times than I can count. I gave it all 12 episodes to change my mind — or to change \u003cem>its \u003c/em>mind about Patty. I've forgiven fat jokes and insulting portrayals and ignorant caricatures and donuts and candy and \"ME WANT FOOOOD\" in probably half the movies and TV shows I've ever loved. Fat Monica and \u003cem>Parks and Rec\u003c/em>'s obesity jokes and monologue jokes by comics I think are brilliant. I've done it with funny movies when it's not until I rewatch them that I even remember that they have That Moment, That Fat Guy, That Gluttonous Slob. I seal memories of moments into capsules and bury them, just so I can watch the same things everybody else does. Mostly, it's fine.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Insatiable \u003c/em>doesn't deserve the second chance I would have extended it if it had become good after that dehumanizing opening sequence. So perhaps it's just as well that it didn't.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Insatiable%27+Is+Lazy+And+Dull%2C+But+At+Least+It%27s+Insulting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"disqusIdentifier": "105043 https://ww2.kqed.org/pop/?p=105043",
"disqusUrl": "https://ww2.kqed.org/pop/2018/08/10/insatiable-isnt-as-bad-as-you-assumed-its-much-much-worse/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2200,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 27
},
"modified": 1534061353,
"excerpt": "Fat suits, fat-shaming, false sexual assault accusations, racist tropes and more—'Insatiable' is truly awful.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Fat suits, fat-shaming, false sexual assault accusations, racist tropes and more—'Insatiable' is truly awful.",
"title": "'Insatiable' Isn't As Bad As You Assumed—It's Much, Much Worse | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Insatiable' Isn't As Bad As You Assumed—It's Much, Much Worse",
"datePublished": "2018-08-10T11:49:11-07:00",
"dateModified": "2018-08-12T01:09:13-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "insatiable-isnt-as-bad-as-you-assumed-its-much-much-worse",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=636585367&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Linda Holmes",
"nprStoryDate": "Thu, 09 Aug 2018 05:00:00 -0400",
"nprLastModifiedDate": "Thu, 09 Aug 2018 11:48:52 -0400",
"nprHtmlLink": "https://www.npr.org/2018/08/09/636585367/insatiable-is-lazy-and-dull-but-at-least-it-s-insulting?ft=nprml&f=636585367",
"nprImageAgency": "Netflix",
"nprImageCredit": "Annette Brown",
"nprStoryId": "636585367",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 09 Aug 2018 11:48:00 -0400",
"path": "/pop/105043/insatiable-isnt-as-bad-as-you-assumed-its-much-much-worse",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If only the worst thing about Netflix's\u003ca href=\"https://www.imdb.com/title/tt6487482/?ref_=nv_sr_1\"> \u003cem>Insatiable\u003c/em> \u003c/a>were its lazy portrayals of fat people \u003cem>or \u003c/em>its tone-deaf deployment of sexual assault and abuse as comedy \u003cem>or\u003c/em> its embrace of racist tropes \u003cem>or \u003c/em>its portrayals of people with Southern accents as dumb hicks \u003cem>or \u003c/em>its white-hot conviction that same-sex attraction is either inherently hilarious or a teaching moment.\u003c/p>\n\u003cp>Oh, if only.\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/z-81WVD8xTs'\n title='//www.youtube.com/embed/z-81WVD8xTs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Don't misunderstand: It deserves every word of the \u003ca href=\"https://variety.com/2018/tv/news/insatiable-fat-shaming-netflix-show-1202882565/\">early petitioning\u003c/a> after its trailer was released about how its fat-suit yuks come cheaply and at the expense of the already maligned. But the show on the whole — and I know, because I fruitlessly watched all 12 episodes like I was running deeper and deeper into a burning building in search of a swimming pool that would never materialize — is more to be puzzled over than despised. This is the purest evidence yet that Netflix has plenty of seasons of \u003cem>Friends \u003c/em>and a lot of cute avatar options but no quality control.\u003c/p>\n\u003cp>No, my friends, Netflix is a big old stuff bucket. And when the stuff poured from the bucket is good, it's not because it needed to be.\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>\u003cem>Insatiable \u003c/em>begins with a fat 17-year-old named Patty (Patty was not a popular name in 2001, but it rhymes with \"Fatty,\" so), who suddenly loses 70 pounds in three months. \"How?\" you might ask. And I would say, \"Well, naturally, it was because she had her jaw wired shut.\" Here, you might furrow your brow and say, \"Why was her jaw wired shut?\" And I would say, \"Because she was punched by a homeless man!\" If you are not already doubled over with the sheer hilarity of it, you might say, \"Why did a homeless man punch her?\" And I would say, \"Because she punched him first!\"\u003c/p>\n\u003cp>Now here, you might reasonably ask me why Patty punched a homeless man, and I would warn you that once you heard the answer, you would feel the plunge of your once-vibrant soul into the depths of this very bad idea — the first sign that no matter how bad you have heard that \u003cem>Insatiable\u003c/em> is, no matter how bad the petitions have concluded that it is, it is worse.\u003c/p>\n\u003cp>Because the answer to why Patty punched a homeless man is: \u003cem>He tried to steal her candy bar.\u003c/em> Protecting candy to the point of violence is sort of the \"jump to light speed\" of ridiculing your fat characters — it shorthands their shameful appetites, their lack of rationality and discipline, their single-minded prey drive, and their infantile attachment to foods mostly associated with children. This is nothing more or less than the fastest (and, let me add, the most clichéd) way to dehumanize a teenage girl along this particular axis. It is the padded \u003ca href=\"https://www.youtube.com/watch?v=Biek0t1CuMA\">Jenna Maroney growling \"ME WANT FOOOOOD!\"\u003c/a> on \u003cem>30 Rock\u003c/em>, if that had been intended to develop a character you would later be expected to really care about.\u003c/p>\n\u003cfigure id=\"attachment_105046\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-105046\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-160x80.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-960x480.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-240x120.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-375x188.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047-520x260.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/landscape-1533815066-1532103066-screen-shot-2018-07-20-at-171047.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">'Insatiable' (Netflix)\u003c/figcaption>\u003c/figure>\n\u003cp>Since all but the first few minutes of Patty's story involve Patty as a thin girl, these early scenes show star Debby Ryan, a very thin actress, in a fat suit. What that means is that her fat body is just a thin girl galumphing around strapped up in pillows she is not used to, meaning she can only appear graceless and unformed, like a guy on a street corner in a hot dog costume. To the degree a real fat girl might have a sway to her hips, a comfort in her stance or a center of gravity she has learned to navigate, you'll never get a look at it this way.\u003c/p>\n\u003cp>Given that Patty loses all this weight via having her jaw wired shut, they skip the process of having her body change — in other words, the actual transformation part of the transformation story. She just suddenly shows up in the same rail-thin body most actresses have, looking nothing whatsoever like people who lose a large amount of weight in a short time. In the world of \u003cem>Insatiable\u003c/em>, Patty lives the dream in which an external force simply peels weight off of her without her having any agency whatsoever, and she wakes up looking the way she has always wanted to look. And other than at a couple of highly emotional moments when she binge-eats in scenes portrayed as grotesque, her weight and her eating habits are never an issue again. This, it should go without saying, is generally not how it goes.\u003c/p>\n\u003cp>Patty meets Bob Armstrong (Dallas Roberts), a lawyer and former pageant coach who has been disgraced by a false accusation of sexual abuse (played for comedy as a screaming, scheming mother makes the accusation out of pure spite). Bob represents Patty when she is prosecuted for punching the candy-stealer, and Patty gets out of trouble by — what a coincidence! — falsely claiming that she punched the man because she feared a sexual assault. (If you're keeping score, that is two false accusations in the first episode.) Bob realizes that Patty's newly acceptable body is his ticket back into pageants. Before you know it, Bob and Patty are pursuing the title of Miss Magic Jesus (?), while Patty nurses a sudden, inexplicable, all-consuming crush on Bob.\u003c/p>\n\u003cp>\"But of course,\" you may protest as these absurdities accumulate, \"realism is beside the point! It is satire!\"\u003c/p>\n\u003cp>Let me assure you: It is not satire. \u003cem>Insatiable \u003c/em>is satire in the same way someone who screams profanities out a car window is a spoken-word poet. Satire requires a point of view; this has none. It generally requires some feel for humor, however dark; this has none. It requires a mastery of tone; this has none. It requires a sense that the actors are all part of the same project; this has none.\u003c/p>\n\u003cp>Eventually, a whole mess of characters inhabit this world: Patty's alcoholic, neglectful mother who begins feeling competitive with Patty the minute she gets thin; Coralee, Bob's narcissistic social-climber wife (Alyssa Milano, \u003cem>why are you here?\u003c/em>), who begins feeling competitive with Patty once Bob starts coaching her; Bob's often shirtless rival (Christopher Gorham, \u003cem>why\u003c/em>?), with whom Bob shares allegedly hilarious homoerotic energy in the early episodes; Patty's best friend Nonnie, the one person who loved her when she was fat ... let's see, who else, who else?\u003c/p>\n\u003cfigure id=\"attachment_105044\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-105044\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b-520x292.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/08/insatiable_wide-fc5d3906fa3b168b675bf24f52e7beb29405836b.jpg 2038w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob (Dallas Roberts) and Patty (Debby Ryan) in 'Insatiable' (Netflix).\u003c/figcaption>\u003c/figure>\n\u003cp>Oh, right: Bob and Coralee's teenage son, Brick, who is sleeping with one of the mothers of one of Patty's high school rivals. This story is treated as extremely funny, and the mother as gloriously trashy, and nobody seems too terribly concerned about the fact that it involves an adult having sex with a minor.\u003c/p>\n\u003cp>Looking from a distance at the plot description, it would be easy to wonder whether it's something genuinely daring, a look at the dark underbelly of ... something or other. Maybe it's inspired by the likes of \u003ca href=\"https://www.imdb.com/title/tt0114681/?ref_=nv_sr_1\">\u003cem>To Die For\u003c/em>\u003c/a>, or \u003ca href=\"https://www.imdb.com/title/tt0126886/?ref_=fn_al_tt_1\">\u003cem>Election\u003c/em>\u003c/a>, or ... something? Surely, some of this can be attributed to same kind of wackadoodle speed-plotting as, say, \u003ca href=\"https://www.imdb.com/title/tt3566726/?ref_=fn_al_tt_1\">\u003cem>Jane the Virgin\u003c/em>?\u003c/a>\u003c/p>\n\u003cp>No. No, no. Understand: The biggest problem with this show is not that it's crazy or offensive. It certainly is obnoxious in its treatment of all kinds of people — on top of the insulting fat-suit stuff, it contains other tropes and types best avoided: an awkward and unsexy Asian-American boy, a magical sassy godmother who is fat \u003cem>and \u003c/em>black \u003cem>and \u003c/em>a lesbian who exists only to educate thin white girls on how to live their best lives, and so forth.\u003c/p>\n\u003cp>But it's so much more than that. Story elements are introduced and then abandoned. Jokes fall flat, flatter, flattest. Patty swerves without reason or nuance from eye-narrowing, vengeance-swearing vixen to lip-quivering, damp-eyed waif. A character who loves someone in one scene will hate them in the next. Characters who have been kind will be cruel and vice versa, without any explanation or motive.\u003c/p>\n\u003cp>Perhaps nothing in \u003cem>Insatiable\u003c/em> is more bizarre than the attempts to hammer viewers with unearned emotional notes. You may recall that there were no deeply felt Very Special Episodes of \u003cem>Seinfeld \u003c/em>or \u003cem>30 Rock\u003c/em>, because they would have been so out of place — the way they are here.\u003c/p>\n\u003cp>While \u003cem>Insatiable \u003c/em>would like you to excuse its considerable meanness as satire or even \u003ca href=\"https://www.vanityfair.com/hollywood/2018/08/insatiable-netflix-controversy-fatty-patty-petition-creator-lauren-gussis\">good-doing\u003c/a>, the truth is that it's often tooth-tinglingly saccharine. Series creator Lauren Gussis and some of the members of the cast have claimed that the show is about revealing the negative effects of bullying and fat shaming, which may well have been the good-faith intent at one time, but which is nowhere in the final product. It's fair, though, to say the show isn't always shaming Patty, exactly, just as Alyssa Milano has said it isn't on Twitter. It is often \u003cem>pitying \u003c/em>Patty.\u003c/p>\n\u003cp>That's probably the one way in which the trailer that caused so much aggravation is, in fact, not representative of the show: The trailer focuses on the parts of the series where Patty is crazy and vengeful, and it doesn't address the parts where Patty is pathetic and miserable, which are also plentiful. For instance, we get to see Patty at one point, thin and looking precisely like a model in a magazine, weeping in a dressing room in a bikini because she's convinced that she's fat and ugly. She is assured by Nonnie that this is no longer the case. Certainly, misapprehending the reality of your own looks is a real thing worth addressing! But the buck-up-little-buddy message of this sequence is not \"love yourself no matter how you look\" or \"fat shaming is bad.\" It's \"even if you don't see it, you are in fact thin and pretty!\" Nothing here is challenging what categories of people deserve love; only whether Patty can learn to accept that she's been in the good category ever since they wired her jaw shut.\u003c/p>\n\u003cp>Maybe the intent is to say Patty always deserved love, but there is no way — none — around the fact that if what you want to demonstrate in a story is that someone deserves love in a particular state of being, you must show them being loved in that state. And if you, the storyteller, can't bring yourself to show it, you probably don't quite believe it.\u003c/p>\n\u003cp>The only way this show could have been saved would have been making it shorter by degrees of magnitude. \u003cem>Insatiable \u003c/em>might have made, with most of its extraneous plot elements and stereotypes excised, a passable if simplistic movie. A girl who suddenly becomes skinny and wrongly believes that it will fix everything? It probably would not have been good, and it sure would not have been new, but it would have been less bad than this. And very late in the game, there is a chunk of Bob's story — maybe 10 minutes or so of screen time — that's nicely done and worth watching, though not nearly as revolutionary as it thinks it is and not at all reconcilable with things that happened earlier. But still! It's something.\u003c/p>\n\u003cp>But oh, it is a slog. There are 12 episodes, some as long as 51 or 52 minutes long. There's just way, way too much of it. As with a Minnesota winter or an oral surgery, \u003cem>Insatiable\u003c/em>'s duration is almost more punishing than the experience itself. Filler follows filler, blind alley follows blind alley. There's a paternity test! There's an exorcism! None of it is relevant!\u003c/p>\n\u003cp>What's funny — what took me several long episodes to realize — is that I could have forgiven \u003cem>Insatiable\u003c/em> for the insulting premise identifiable from its trailer. I would have. I know, because I've done it, over and over, more times than I can count. I gave it all 12 episodes to change my mind — or to change \u003cem>its \u003c/em>mind about Patty. I've forgiven fat jokes and insulting portrayals and ignorant caricatures and donuts and candy and \"ME WANT FOOOOD\" in probably half the movies and TV shows I've ever loved. Fat Monica and \u003cem>Parks and Rec\u003c/em>'s obesity jokes and monologue jokes by comics I think are brilliant. I've done it with funny movies when it's not until I rewatch them that I even remember that they have That Moment, That Fat Guy, That Gluttonous Slob. I seal memories of moments into capsules and bury them, just so I can watch the same things everybody else does. Mostly, it's fine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Insatiable \u003c/em>doesn't deserve the second chance I would have extended it if it had become good after that dehumanizing opening sequence. So perhaps it's just as well that it didn't.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Insatiable%27+Is+Lazy+And+Dull%2C+But+At+Least+It%27s+Insulting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/105043/insatiable-isnt-as-bad-as-you-assumed-its-much-much-worse",
"authors": [
"byline_pop_105043"
],
"categories": [
"pop_3"
],
"tags": [
"pop_3267",
"pop_438"
],
"featImg": "pop_105047",
"label": "pop"
},
"pop_104464": {
"type": "posts",
"id": "pop_104464",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "104464",
"score": null,
"sort": [
1530642010000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1530642010,
"format": "standard",
"disqusTitle": "Flipping Out Over Hannah Gadsby's 'Nanette' on Netflix? You're Not Alone",
"title": "Flipping Out Over Hannah Gadsby's 'Nanette' on Netflix? You're Not Alone",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Many Americans had little exposure to Australian actress/comic/writer \u003ca href=\"https://twitter.com/Hannahgadsby?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Hannah Gadsby\u003c/a> before a few weeks ago. Maybe they had seen her in \u003ca href=\"https://www.imdb.com/title/tt2155025/?ref_=fn_al_tt_1\">\u003cem>Please Like Me\u003c/em>\u003c/a>, an Australian comedy series in which she had a supporting role. But statistically, they probably hadn't.\u003c/p>\n\u003cp>And then came \u003cem>Nanette\u003c/em>, her Netflix special, which is a recording of a live show she's been doing for a while — it won awards at Edinburgh Festival Fringe and the Melbourne Comedy Festival — and brought to New York in March. If you look at some of the tweets about \u003cem>Nanette\u003c/em>, you'll see a lot of people using very strong words of praise for it.\u003c/p>\n\u003cp>https://twitter.com/wcruz73/status/1013181188557672449?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1013181188557672449&ref_url=https%3A%2F%2Fwww.npr.org%2Fsections%2Fmonkeysee%2F2018%2F07%2F02%2F625298708%2Fhannah-gadsbys-nanette-is-a-scorching-piece-on-comedy-and-trauma\u003c/p>\n\u003cp>https://twitter.com/inkookang/status/1012413258215522305?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1012413258215522305&ref_url=https%3A%2F%2Fwww.npr.org%2Fsections%2Fmonkeysee%2F2018%2F07%2F02%2F625298708%2Fhannah-gadsbys-nanette-is-a-scorching-piece-on-comedy-and-trauma\u003c/p>\n\u003cp>https://twitter.com/sepinwall/status/1012381126076325888?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1012381126076325888&ref_url=https%3A%2F%2Fwww.npr.org%2Fsections%2Fmonkeysee%2F2018%2F07%2F02%2F625298708%2Fhannah-gadsbys-nanette-is-a-scorching-piece-on-comedy-and-trauma\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So what is \u003cem>Nanette\u003c/em> anyway? It is stand-up... sort of. It is comedy... partly.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5aE29fiatQ0\u003c/p>\n\u003cp>Netflix has been producing a fire hose of content of all kinds over the last several years, and they have fixed their gaze hard upon the world of stand-up. This has meant they've landed specials from the very famous side of American comedy — people like Jerry Seinfeld, Chris Rock, Patton Oswalt, and Amy Schumer. But Netflix has also allowed space for comics who aren't yet superstars when they first arrive there: Ali Wong, Hasan Minhaj and others.\u003c/p>\n\u003cp>Still, this is different. Not a little different, but totally different.\u003c/p>\n\u003cp>First things first: Gadsby says, when she walks out on stage in dark pants, a dark shirt, and a blue blazer with black lapels, that she called the show \u003cem>Nanette\u003c/em> because she'd met someone named Nanette, and she hadn't yet written the show and she just figured she could get an hour of comedy from that person. \"Turns out,\" she says, \"No.\"\u003c/p>\n\u003cp>This little opening gag, while it's funny and gets a laugh, communicates something that will recur: a framing in which the show is being written, its themes discovered, as it's performed — which obviously is not so, and which you are not meant to literally believe is so. But suggesting that the show disobeyed the name she gave it lays out one of Gadsby's themes with great economy: that writing and performing will sneak up on you. Not just as the audience, but as the creator. That you are not always doing what you think or hope you're doing.\u003c/p>\n\u003cp>Gadsby begins with a riff on what it was like, as a kid growing up in Tasmania, when she \"found out [she] was a little bit lesbian.\" The general attitude, she says, was that gay people were not welcome: \"You should just get yourself a one-way ticket to the mainland, and don't come back,\" she summarizes, and because of the way she delivers the line, the audience laughs. And you begin to see a very particular look, which you'll see on and off over the hour: a tight grin, framed by Gadsby's dimples, topped by her upper lip almost baring her teeth, that is not quite a smile. It's not the relaxed smile you see when she jokes about penicillin or something else less personal.\u003c/p>\n\u003cp>Once you've seen the entire special, this look makes sense, because it calls upon you to ask: What, exactly, is funny about feeling unwelcome in your own country because of who you are? What, as she continues in another anecdote, is funny about being angrily confronted by a man who believed she was another man hitting on his girlfriend? The humor is in the way she tells it; the humor is her choice. She is making the decision to make it comedy. She could make another choice instead.\u003c/p>\n\u003cp>She wanders, at times, into actually analyzing how jokes work: How they create tension (the set-up) and then release it (the punch line). How she learned to be funny because she needed to release tension to survive. It was not, at that time, tension she built as a performer, but tension that she \u003cem>represented \u003c/em>for other people, because of who she was. She talks about the mythology of trauma and pain as the ways to make art — not just comedy, but visual art, too (you will never hear so much about Van Gogh and Picasso in any other Netflix comedy special).\u003c/p>\n\u003cp>One of the things Gadsby is doing is exploring tools for telling stories, particularly stories of trauma. She is questioning not the power of laughter or comedy, but the way in which queer performers and anyone else who feels different are encouraged to come to comedy, pain in hand, pain as punch line. She is questioning what kind of art we accept from what kind of artist, and how creativity and pathology are romantically entwined in popular myth. The special \u003cem>is \u003c/em>funny, in many places, and when it isn't, it is not dully didactic but blisteringly insightful. It is serious, but it is never dry — it is riveting throughout.\u003c/p>\n\u003cp>What happens, she wonders, to the things we make into jokes? How permanent is the relief of shared laughter? These are daring, fresh questions that demolish the very idea of reflexive glibness in comedy and art and fearlessly present not saccharine sincerity but unapologetic emotion as worthy of being heard.\u003c/p>\n\u003cp>It's part of the show to watch it bend and reshape itself, so I don't want to say too much more about it. Suffice it to say there is a reason why people are so urgently telling the people they know to watch it.\u003c/p>\n\u003cp>It has all this, after all, plus what I suspect will be 2018's best fart joke.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Hannah Gadsby might tell you I said that last thing to release the tension of talking about how wrenching her show is, and that maybe I shouldn't have. She might be right.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hannah+Gadsby%27s+%27Nanette%27+Is+A+Scorching+Piece+On+Comedy+And+Trauma&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"disqusIdentifier": "104464 https://ww2.kqed.org/pop/?p=104464",
"disqusUrl": "https://ww2.kqed.org/pop/2018/07/03/flipping-out-over-hannah-gadsbys-nanette-on-netflix-youre-not-alone/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1100,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1530563049,
"excerpt": "Blisteringly insightful, riveting and, yes, funny, 'Nanette' is like no other comedy special you've seen.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Blisteringly insightful, riveting and, yes, funny, 'Nanette' is like no other comedy special you've seen.",
"title": "Flipping Out Over Hannah Gadsby's 'Nanette' on Netflix? You're Not Alone | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Flipping Out Over Hannah Gadsby's 'Nanette' on Netflix? You're Not Alone",
"datePublished": "2018-07-03T11:20:10-07:00",
"dateModified": "2018-07-02T13:24:09-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "flipping-out-over-hannah-gadsbys-nanette-on-netflix-youre-not-alone",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=625298708&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Linda Holmes",
"nprStoryDate": "Mon, 02 Jul 2018 11:40:50 -0400",
"nprLastModifiedDate": "Mon, 02 Jul 2018 11:40:50 -0400",
"nprHtmlLink": "https://www.npr.org/sections/monkeysee/2018/07/02/625298708/hannah-gadsbys-nanette-is-a-scorching-piece-on-comedy-and-trauma?ft=nprml&f=625298708",
"nprImageAgency": "Netflix",
"nprStoryId": "625298708",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 02 Jul 2018 11:40:00 -0400",
"path": "/pop/104464/flipping-out-over-hannah-gadsbys-nanette-on-netflix-youre-not-alone",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many Americans had little exposure to Australian actress/comic/writer \u003ca href=\"https://twitter.com/Hannahgadsby?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Hannah Gadsby\u003c/a> before a few weeks ago. Maybe they had seen her in \u003ca href=\"https://www.imdb.com/title/tt2155025/?ref_=fn_al_tt_1\">\u003cem>Please Like Me\u003c/em>\u003c/a>, an Australian comedy series in which she had a supporting role. But statistically, they probably hadn't.\u003c/p>\n\u003cp>And then came \u003cem>Nanette\u003c/em>, her Netflix special, which is a recording of a live show she's been doing for a while — it won awards at Edinburgh Festival Fringe and the Melbourne Comedy Festival — and brought to New York in March. If you look at some of the tweets about \u003cem>Nanette\u003c/em>, you'll see a lot of people using very strong words of praise for it.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1013181188557672449"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1012413258215522305"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1012381126076325888"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So what is \u003cem>Nanette\u003c/em> anyway? It is stand-up... sort of. It is comedy... partly.\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/5aE29fiatQ0'\n title='//www.youtube.com/embed/5aE29fiatQ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Netflix has been producing a fire hose of content of all kinds over the last several years, and they have fixed their gaze hard upon the world of stand-up. This has meant they've landed specials from the very famous side of American comedy — people like Jerry Seinfeld, Chris Rock, Patton Oswalt, and Amy Schumer. But Netflix has also allowed space for comics who aren't yet superstars when they first arrive there: Ali Wong, Hasan Minhaj and others.\u003c/p>\n\u003cp>Still, this is different. Not a little different, but totally different.\u003c/p>\n\u003cp>First things first: Gadsby says, when she walks out on stage in dark pants, a dark shirt, and a blue blazer with black lapels, that she called the show \u003cem>Nanette\u003c/em> because she'd met someone named Nanette, and she hadn't yet written the show and she just figured she could get an hour of comedy from that person. \"Turns out,\" she says, \"No.\"\u003c/p>\n\u003cp>This little opening gag, while it's funny and gets a laugh, communicates something that will recur: a framing in which the show is being written, its themes discovered, as it's performed — which obviously is not so, and which you are not meant to literally believe is so. But suggesting that the show disobeyed the name she gave it lays out one of Gadsby's themes with great economy: that writing and performing will sneak up on you. Not just as the audience, but as the creator. That you are not always doing what you think or hope you're doing.\u003c/p>\n\u003cp>Gadsby begins with a riff on what it was like, as a kid growing up in Tasmania, when she \"found out [she] was a little bit lesbian.\" The general attitude, she says, was that gay people were not welcome: \"You should just get yourself a one-way ticket to the mainland, and don't come back,\" she summarizes, and because of the way she delivers the line, the audience laughs. And you begin to see a very particular look, which you'll see on and off over the hour: a tight grin, framed by Gadsby's dimples, topped by her upper lip almost baring her teeth, that is not quite a smile. It's not the relaxed smile you see when she jokes about penicillin or something else less personal.\u003c/p>\n\u003cp>Once you've seen the entire special, this look makes sense, because it calls upon you to ask: What, exactly, is funny about feeling unwelcome in your own country because of who you are? What, as she continues in another anecdote, is funny about being angrily confronted by a man who believed she was another man hitting on his girlfriend? The humor is in the way she tells it; the humor is her choice. She is making the decision to make it comedy. She could make another choice instead.\u003c/p>\n\u003cp>She wanders, at times, into actually analyzing how jokes work: How they create tension (the set-up) and then release it (the punch line). How she learned to be funny because she needed to release tension to survive. It was not, at that time, tension she built as a performer, but tension that she \u003cem>represented \u003c/em>for other people, because of who she was. She talks about the mythology of trauma and pain as the ways to make art — not just comedy, but visual art, too (you will never hear so much about Van Gogh and Picasso in any other Netflix comedy special).\u003c/p>\n\u003cp>One of the things Gadsby is doing is exploring tools for telling stories, particularly stories of trauma. She is questioning not the power of laughter or comedy, but the way in which queer performers and anyone else who feels different are encouraged to come to comedy, pain in hand, pain as punch line. She is questioning what kind of art we accept from what kind of artist, and how creativity and pathology are romantically entwined in popular myth. The special \u003cem>is \u003c/em>funny, in many places, and when it isn't, it is not dully didactic but blisteringly insightful. It is serious, but it is never dry — it is riveting throughout.\u003c/p>\n\u003cp>What happens, she wonders, to the things we make into jokes? How permanent is the relief of shared laughter? These are daring, fresh questions that demolish the very idea of reflexive glibness in comedy and art and fearlessly present not saccharine sincerity but unapologetic emotion as worthy of being heard.\u003c/p>\n\u003cp>It's part of the show to watch it bend and reshape itself, so I don't want to say too much more about it. Suffice it to say there is a reason why people are so urgently telling the people they know to watch it.\u003c/p>\n\u003cp>It has all this, after all, plus what I suspect will be 2018's best fart joke.\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>Hannah Gadsby might tell you I said that last thing to release the tension of talking about how wrenching her show is, and that maybe I shouldn't have. She might be right.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hannah+Gadsby%27s+%27Nanette%27+Is+A+Scorching+Piece+On+Comedy+And+Trauma&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/104464/flipping-out-over-hannah-gadsbys-nanette-on-netflix-youre-not-alone",
"authors": [
"byline_pop_104464"
],
"categories": [
"pop_2696",
"pop_3"
],
"tags": [
"pop_3240",
"pop_438"
],
"featImg": "pop_104465",
"label": "pop"
},
"pop_104402": {
"type": "posts",
"id": "pop_104402",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "104402",
"score": null,
"sort": [
1530133793000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1530133793,
"format": "standard",
"disqusTitle": "W. Kamau Bell on 'Shades Of America' and Not Feeling 'Black Enough'",
"title": "W. Kamau Bell on 'Shades Of America' and Not Feeling 'Black Enough'",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>W. Kamau Bell is embracing the word \"negro.\" It's a term that connects him to civil rights icons of the past.\u003c/p>\n\u003cp>\"Some people may be offended by it, but to me it just feels very like classically, importantly black,\" Bell says. \"It reminds me of a time when black people were angry and doing something about it. For me it takes me right back to the height of the civil rights movement with Martin Luther King Jr. and Coretta Scott King and Malcolm X.\"\u003c/p>\n\u003cp>Bell's previous Netflix comedy special was called \u003cem>Semi-Prominent Negro. \u003c/em>His new special, \u003cem>Private School Negro,\u003c/em> is a reflection on being black in America. In it, he talks about being married to his wife, who is white, and what it's like to raise their biracial children in the Trump era.\u003c/p>\n\u003cp>Bell also recently examined his own ancestry as part of a \u003ca href=\"https://www.cnn.com/2018/06/06/us/united-shades-ancestry-finding-kamau/index.html\">three-part Web series\u003c/a> associated with his CNN show \u003cem>United Shades of America\u003c/em>. A DNA analysis, he says, revealed he was \"73 percent from Africa\" — that's a whole 2 percent less than the 75 percent results he'd seen from other African-Americans.\u003c/p>\n\u003cp>\"All my life I have felt like I wasn't 'black enough' and have been told by other people that I wasn't 'black enough,' \" he jokes. \"I'm literally not black enough!\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u1WP79yrtnE\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>NPR Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On finding documents that show his great-great-grandmother was considered property\u003c/strong>\u003c/p>\n\u003cp>The documents that really hit me were the ones where members of our family were being counted as property and they were sort of tick marks on a piece of paper, not with their names attached, but we know through the records that this person owned your family members and this tick mark here accounts for your great-great-grandmother. That's the stuff that really shook me.\u003c/p>\n\u003cp>They call it the \"African-American brick wall\" because once you can't really get much further past slavery, because nobody's names are attached to them. Again, they're just property. So for me, that's the thing that really sickens my stomach because it's like, my wife who is white... can trace her heritage back as far to, like, the \"old country\" as they call it — Italy and Portugal and Ireland and England. Whereas mine, for the most part, is going to end in the South. We're not going to be able to get much further back than that, other than the DNA telling you where your DNA comes from.\u003c/p>\n\u003cp>\u003cstrong>On filming an episode of \u003c/strong>\u003cstrong>\u003cem>Parts Unknown\u003c/em>\u003c/strong>\u003cstrong> with the late Anthony Bourdain in Kenya\u003c/strong>\u003c/p>\n\u003cp>At one point we were on safari and we're sitting on the side of this hill in Africa looking at, like, zebras and giraffes and hippos running around. It was this surreal experience and we're drinking gin and tonics and we're ostensibly talking about what it's like for me to go to Africa... I just took a moment to explain to him how surreal it was that I was sitting with him on the side of this mountain, this guy I had watched on TV... going, \"I would like to have a show like that someday.\"...\u003c/p>\n\u003cp>We had a great time together and at the end of the week he gave me his phone number and was like, \"When you're in New York, text me and we'll go out to dinner.\" ...He was just a great dude... And I felt so validated by him and by his life force and nobody is like him. He did not suffer fools gladly and so the fact that he would talk to me and give me his phone number and say look him up made me feel like, I'm not a fool! I mean, I'm a comedian, but I'm not a fool.\u003c/p>\n\u003cp>\u003cstrong>On the \u003ca href=\"https://www.hollywoodreporter.com/live-feed/jonathan-friedland-exits-netflix-1122675\">firing\u003c/a> of Netflix communications chief Jonathan Friedland after his use of the n-word in a meeting\u003c/strong>\u003c/p>\n\u003cp>The thing that I think is really noteworthy about that is how fast Netflix decided to let him go, because we all know that in corporate America people have been saying horrible, horrible things, racist things, sexist things, homophobic things, transphobic things, and sometimes the people who are offended by it feel like they can't say anything, because they're not in a position of power and they don't want to lose their jobs. So they put their head down and hold it... Whereas now, and I think this is sort of subset of \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo\u003c/a>, is that we're examining all the behavior of men.\u003c/p>\n\u003cp>I think this is not the same as sexual assault by any means, but it's like, men are allowed to take up too much space in society and now we're at this point where people have to go, \"We're not going to allow you to take up that space.\"\u003c/p>\n\u003cp>I don't know that 10 years ago that somebody would've been fired from a company for saying that and I don't know that we would've known the story. But the fact is that Netflix worked very quickly to figure that out and good for them. And I hope it's an example for other companies. Also, I think every time something like that happens it gives everybody more courage to stand up the next time somebody says something ignorant or hateful.\u003c/p>\n\u003cp>\u003cstrong>On his response to men who characterize the #MeToo movement as a \"witch hunt\"\u003c/strong>\u003c/p>\n\u003cp>None of our behavior is above reproach if we've been in this industry and we've seen things... We all have to be able to stand up to an audit and it's going to take down some people who absolutely deserve to be taken down.\u003c/p>\n\u003cp>But it's also going to take down some people who we should've said more, we should've done something differently and we're not bad people but we were in bad situations and we didn't do the right things. So I think that there's going to be a generation of men who is properly taken down by this and... men who are sort of caught up in the shrapnel by this... and hopefully it will mean we will raise the next generation of [boys in to men] in a different way.\u003c/p>\n\u003cp>\u003cstrong>On expecting his third child — specifically, his role during labor\u003c/strong>\u003c/p>\n\u003cp>People see me as a very calm person, but my wife knows that's not true, so my job is to really shut up and just do what I'm told and really try to limit my external monologue, which is difficult for me, as an only child and a stand-up comic... My job is to point out things that I think are ridiculous, but when your wife is in the middle of giving birth that's not a good time to notice things like, \"Did you ever notice?\" \"Not right now, Kamau.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Comic+W.+Kamau+Bell+On+The+%27Shades+Of+America%27+And+Not+Feeling+%27Black+Enough%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"disqusIdentifier": "104402 https://ww2.kqed.org/pop/?p=104402",
"disqusUrl": "https://ww2.kqed.org/pop/2018/06/27/w-kamau-bell-on-shades-of-america-and-not-feeling-black-enough/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1216,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1530133793,
"excerpt": "Bell has a new Netflix special, 'Private School Negro', plus a CNN series about his ancestry.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Bell has a new Netflix special, 'Private School Negro', plus a CNN series about his ancestry.",
"title": "W. Kamau Bell on 'Shades Of America' and Not Feeling 'Black Enough' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "W. Kamau Bell on 'Shades Of America' and Not Feeling 'Black Enough'",
"datePublished": "2018-06-27T14:09:53-07:00",
"dateModified": "2018-06-27T14:09:53-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "w-kamau-bell-on-shades-of-america-and-not-feeling-black-enough",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=623820372&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Terry Gross",
"nprStoryDate": "Wed, 27 Jun 2018 15:21:00 -0400",
"nprLastModifiedDate": "Wed, 27 Jun 2018 15:21:19 -0400",
"nprHtmlLink": "https://www.npr.org/2018/06/27/623820372/comic-w-kamau-bell-on-the-shades-of-america-and-not-feeling-black-enough?ft=nprml&f=623820372",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2018/06/20180627_fa_01.mp3?orgId=427869011&topicId=1138&d=2137&p=13&story=623820372&ft=nprml&f=623820372",
"nprImageAgency": "Netflix",
"nprImageCredit": "KC Bailey",
"nprAudioM3u": "http://api.npr.org/m3u/1623945370-6b29ed.m3u?orgId=427869011&topicId=1138&d=2137&p=13&story=623820372&ft=nprml&f=623820372",
"nprStoryId": "623820372",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 27 Jun 2018 15:48:00 -0400",
"path": "/pop/104402/w-kamau-bell-on-shades-of-america-and-not-feeling-black-enough",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/fa/2018/06/20180627_fa_01.mp3?orgId=427869011&topicId=1138&d=2137&p=13&story=623820372&ft=nprml&f=623820372",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>W. Kamau Bell is embracing the word \"negro.\" It's a term that connects him to civil rights icons of the past.\u003c/p>\n\u003cp>\"Some people may be offended by it, but to me it just feels very like classically, importantly black,\" Bell says. \"It reminds me of a time when black people were angry and doing something about it. For me it takes me right back to the height of the civil rights movement with Martin Luther King Jr. and Coretta Scott King and Malcolm X.\"\u003c/p>\n\u003cp>Bell's previous Netflix comedy special was called \u003cem>Semi-Prominent Negro. \u003c/em>His new special, \u003cem>Private School Negro,\u003c/em> is a reflection on being black in America. In it, he talks about being married to his wife, who is white, and what it's like to raise their biracial children in the Trump era.\u003c/p>\n\u003cp>Bell also recently examined his own ancestry as part of a \u003ca href=\"https://www.cnn.com/2018/06/06/us/united-shades-ancestry-finding-kamau/index.html\">three-part Web series\u003c/a> associated with his CNN show \u003cem>United Shades of America\u003c/em>. A DNA analysis, he says, revealed he was \"73 percent from Africa\" — that's a whole 2 percent less than the 75 percent results he'd seen from other African-Americans.\u003c/p>\n\u003cp>\"All my life I have felt like I wasn't 'black enough' and have been told by other people that I wasn't 'black enough,' \" he jokes. \"I'm literally not black enough!\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/u1WP79yrtnE'\n title='//www.youtube.com/embed/u1WP79yrtnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>NPR Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On finding documents that show his great-great-grandmother was considered property\u003c/strong>\u003c/p>\n\u003cp>The documents that really hit me were the ones where members of our family were being counted as property and they were sort of tick marks on a piece of paper, not with their names attached, but we know through the records that this person owned your family members and this tick mark here accounts for your great-great-grandmother. That's the stuff that really shook me.\u003c/p>\n\u003cp>They call it the \"African-American brick wall\" because once you can't really get much further past slavery, because nobody's names are attached to them. Again, they're just property. So for me, that's the thing that really sickens my stomach because it's like, my wife who is white... can trace her heritage back as far to, like, the \"old country\" as they call it — Italy and Portugal and Ireland and England. Whereas mine, for the most part, is going to end in the South. We're not going to be able to get much further back than that, other than the DNA telling you where your DNA comes from.\u003c/p>\n\u003cp>\u003cstrong>On filming an episode of \u003c/strong>\u003cstrong>\u003cem>Parts Unknown\u003c/em>\u003c/strong>\u003cstrong> with the late Anthony Bourdain in Kenya\u003c/strong>\u003c/p>\n\u003cp>At one point we were on safari and we're sitting on the side of this hill in Africa looking at, like, zebras and giraffes and hippos running around. It was this surreal experience and we're drinking gin and tonics and we're ostensibly talking about what it's like for me to go to Africa... I just took a moment to explain to him how surreal it was that I was sitting with him on the side of this mountain, this guy I had watched on TV... going, \"I would like to have a show like that someday.\"...\u003c/p>\n\u003cp>We had a great time together and at the end of the week he gave me his phone number and was like, \"When you're in New York, text me and we'll go out to dinner.\" ...He was just a great dude... And I felt so validated by him and by his life force and nobody is like him. He did not suffer fools gladly and so the fact that he would talk to me and give me his phone number and say look him up made me feel like, I'm not a fool! I mean, I'm a comedian, but I'm not a fool.\u003c/p>\n\u003cp>\u003cstrong>On the \u003ca href=\"https://www.hollywoodreporter.com/live-feed/jonathan-friedland-exits-netflix-1122675\">firing\u003c/a> of Netflix communications chief Jonathan Friedland after his use of the n-word in a meeting\u003c/strong>\u003c/p>\n\u003cp>The thing that I think is really noteworthy about that is how fast Netflix decided to let him go, because we all know that in corporate America people have been saying horrible, horrible things, racist things, sexist things, homophobic things, transphobic things, and sometimes the people who are offended by it feel like they can't say anything, because they're not in a position of power and they don't want to lose their jobs. So they put their head down and hold it... Whereas now, and I think this is sort of subset of \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo\u003c/a>, is that we're examining all the behavior of men.\u003c/p>\n\u003cp>I think this is not the same as sexual assault by any means, but it's like, men are allowed to take up too much space in society and now we're at this point where people have to go, \"We're not going to allow you to take up that space.\"\u003c/p>\n\u003cp>I don't know that 10 years ago that somebody would've been fired from a company for saying that and I don't know that we would've known the story. But the fact is that Netflix worked very quickly to figure that out and good for them. And I hope it's an example for other companies. Also, I think every time something like that happens it gives everybody more courage to stand up the next time somebody says something ignorant or hateful.\u003c/p>\n\u003cp>\u003cstrong>On his response to men who characterize the #MeToo movement as a \"witch hunt\"\u003c/strong>\u003c/p>\n\u003cp>None of our behavior is above reproach if we've been in this industry and we've seen things... We all have to be able to stand up to an audit and it's going to take down some people who absolutely deserve to be taken down.\u003c/p>\n\u003cp>But it's also going to take down some people who we should've said more, we should've done something differently and we're not bad people but we were in bad situations and we didn't do the right things. So I think that there's going to be a generation of men who is properly taken down by this and... men who are sort of caught up in the shrapnel by this... and hopefully it will mean we will raise the next generation of [boys in to men] in a different way.\u003c/p>\n\u003cp>\u003cstrong>On expecting his third child — specifically, his role during labor\u003c/strong>\u003c/p>\n\u003cp>People see me as a very calm person, but my wife knows that's not true, so my job is to really shut up and just do what I'm told and really try to limit my external monologue, which is difficult for me, as an only child and a stand-up comic... My job is to point out things that I think are ridiculous, but when your wife is in the middle of giving birth that's not a good time to notice things like, \"Did you ever notice?\" \"Not right now, Kamau.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Comic+W.+Kamau+Bell+On+The+%27Shades+Of+America%27+And+Not+Feeling+%27Black+Enough%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/104402/w-kamau-bell-on-shades-of-america-and-not-feeling-black-enough",
"authors": [
"byline_pop_104402"
],
"categories": [
"pop_2696"
],
"tags": [
"pop_709",
"pop_438",
"pop_1357"
],
"featImg": "pop_104403",
"label": "pop"
},
"pop_104318": {
"type": "posts",
"id": "pop_104318",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "104318",
"score": null,
"sort": [
1529953979000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1529953979,
"format": "standard",
"disqusTitle": "All the Stand-Up Specials You Should be Streaming Right Now",
"title": "All the Stand-Up Specials You Should be Streaming Right Now",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>How's your week going so far?\u003c/p>\n\u003cp>That well, huh? We understand.\u003c/p>\n\u003cp>Over on our show, \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\">\u003cem>Pop Culture Happy Hour\u003c/em>\u003c/a>, \u003ca href=\"https://www.npr.org/sections/monkeysee/2018/06/20/621428371/pop-culture-happy-hour-the-great-big-stand-up-roundup\">we recently spent an episode talking all about comedy specials\u003c/a>, which play a unique role for us in helping hard times feel a little less taxing. Stephen Thompson of NPR Music, Glen Weldon of the NPR arts desk, Mike Katzif of \u003ca href=\"https://www.npr.org/programs/ask-me-another/?showDate=2018-06-22?showDate=2018-06-22\">\u003cem>Ask Me Another\u003c/em>\u003c/a> and I chose two specials each to highlight from the last couple of years.\u003c/p>\n\u003cp>For a long time, the primary source of stand-up on television was basic cable, where half-hour specials with comics standing in front of brick walls proliferated. HBO made a mark with hour-long specials, many of which became nearly legendary.\u003c/p>\n\u003cp>But recently, the heaviest stomping feet in stand-up television have belonged to Netflix, which has spent huge money and landed specials from superstars like Chris Rock and Dave Chappelle, but is also giving opportunities to less famous performers whose biggest problem may be getting their work to stand out among the many (many, many) other Netflix offerings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So you'll see a lot of Netflix here, and in our special bonus recommendations at the end of the list. But you'll also see HBO, Comedy Central, and even one special that was released independently to raise money.\u003c/p>\n\u003cp>A note about \u003cem>Nanette\u003c/em>: On June 19, after we recorded our episode, Netflix released a recorded version of \u003ca href=\"https://www.netflix.com/title/80233611\">Hannah Gadsby's \u003cem>Nanette\u003c/em>\u003c/a>, a show that combines incisive, creative comedy with unsparing storytelling and righteous fury about misogyny, trauma and growing up as a lesbian in Tasmania, where homosexuality was illegal at the time. As the episode dropped, we were asked over and over by listeners to watch Gadsby's special — and I'm glad I did. It is an unforgettable, inventive hour unlike anything I've ever seen. It is comedy, and then it is something else, and then it is comedy again, and then it is something else again. The experimentation in this space continues to be thrilling and hugely valuable.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>MARIA BAMFORD, \u003c/strong>\u003cstrong>\u003cem>OLD BABY \u003c/em>\u003c/strong>\u003cstrong>(NETFLIX, 2017)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KPppxWCnlMM\u003c/p>\n\u003cp>There's mining awkwardness for laughs, and then there's performing a stand-up routine in front of an audience so small, you can place each individual nervous chuckle. Maria Bamford begins \u003cem>Old Baby\u003c/em> by performing alone in front of a mirror, then figuratively pans out to speak to progressively larger crowds: her husband and their pugs, a few people in a bowling alley, and so on, all the way up to about 20 minutes of material in front of a typical theater crowd. An accomplished voice actor, Bamford gets the most out of her distinct cadence, her fearless takes on mental illness and her gift for embodying multiple characters in rapid succession; there's a bit in \u003cem>Old Baby\u003c/em> wherein she imitates her mother, her husband's mother, and her husband's \u003cem>imitation\u003c/em> of his mother. But she also scores points just for thoroughly upending expectations about what stand-up comedy should entail in the first place. — \u003cem>Stephen Thompson\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>MIKE BIRBIGLIA, \u003c/strong>\u003cem>\u003cstrong>THANK GOD FOR JOKES \u003c/strong>\u003c/em>\u003cstrong>(NETFLIX, 2017)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QOlnuN2PXbg\u003c/p>\n\u003cp>\u003cem>Thank God For Jokes \u003c/em>is a little different from a traditional stand-up special, as Birbiglia is a little different from a traditional stand-up. It's hard to draw meaningful lines between a stand-up and a storyteller, between a comedy special and a one-man show. But Birbiglia distinguishes himself perhaps most clearly by placing a single frame around this entire hour of comedy: his hosting of the Gotham Awards, an independent film awards show. He uses his own memories of deliberating over how to host the event successfully as the bones of an examination of what's funny to different audiences, how to keep people from hating you, what happens when you realize you've done the wrong thing before a live audience, and what it's like to be a broke, rock-bottom comic. The special is a wonder of structure and pacing, circling back and back to the Gotham Awards and back and back to earlier references, so smoothly that everything feels like one conversation — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>CAMERON ESPOSITO, \u003c/strong>\u003cstrong>\u003cem>RAPE JOKES \u003c/em>\u003c/strong>\u003cstrong>(INDEPENDENT, 2018)\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-104321\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-800x419.jpg\" alt=\"\" width=\"800\" height=\"419\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-800x419.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-160x84.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-768x402.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-1020x534.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-1180x618.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-960x502.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-240x126.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-375x196.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-520x272.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Cameron Esposito is stupendously good at using her own voice. Her shout is funny, her whisper is funny, and her conspiratorial, faux-polite, excruciatingly patient explanatory tone is funny. She released \u003ca href=\"https://www.cameronesposito.com/\">her special \u003cem>Rape Jokes \u003c/em>on her own site\u003c/a> to raise money for \u003ca href=\"https://www.rainn.org/\">RAINN\u003c/a>, an organization that fights sexual violence. The special does deal with sexual assault and jokes about sexual assault, as well as the tiresome complaints about \"P.C. culture\" that she likens to people insisting on calling Netflix \"talkies on my Blockbuster machine.\" But while it's impassioned, the special is never didactic in a way that distracts. Esposito uses the importance of her subject the way comics use mic stands: she leans on it, steps back from it, gestures toward it, stands away from it, and uses it to get laughs, but never lets it get too far away from the center of the stage. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>SOLOMON GEORGIO, \u003c/strong>\u003cem>\u003cstrong>COMEDY CENTRAL STAND-UP PRESENTS – SEASON 1, EPISODE 12 \u003c/strong>\u003c/em>\u003cstrong>(COMEDY CENTRAL, 2017)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k9hZy2q9S_U\u003c/p>\n\u003cp>The name of Georgio's 2017 stand-up album is \u003cem>Homonegro Superior\u003c/em>, and after watching him work the stage with such easy charm and confidence, you have to admit he makes a pretty good case. He's got a great suit, a healthy swagger and more than a touch of righteous indignation that, in other comics, might fuel a practiced, performative rant or six. But Georgio's not one to lose his cool like that – he keeps his indignation at a low simmer, infusing his jokes with a fierceness borne of growing up an African immigrant with a little something extra: \"I'm gay as hell,\" he says, \"and I'm \u003cem>great\u003c/em> at it.\" You watch, and nod to yourself, thinking, \u003cem>Yep, that tracks.\u003c/em> — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>HARI KONDABOLU, \u003c/strong>\u003cstrong>\u003cem>WARN YOUR RELATIVES \u003c/em>\u003c/strong>\u003cstrong>(NETFLIX, 2018)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R4pckD4HyY0\u003c/p>\n\u003cp>An activist and comedian known in part for his documentary \u003ca href=\"https://en.wikipedia.org/wiki/The_Problem_with_Apu\">\u003cem>The Problem With Apu\u003c/em>,\u003c/a> Hari Kondabolu injects his stand-up material with the righteous indignation you might expect. But he also fills \u003cem>Warn Your Relatives\u003c/em> with sturdy, funny, silly, self-deprecating jokes — about everything from the TSA to getting heckled by Tracy Morgan — and injects his material with enormous affection for, among others, his immigrant mother, whose quips and text messages he reads to the audience with infectious appreciation. — \u003cem>Stephen Thompson\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>JERRY SEINFELD, \u003c/strong>\u003cstrong>\u003cem>JERRY BEFORE SEINFELD\u003c/em>\u003c/strong>\u003cstrong> (NETFLIX, 2017)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uqT0ayeR8Ps\u003c/p>\n\u003cp>It's fair to say that most fans of comedy are familiar with Jerry Seinfeld. (The guy from \u003cem>Bee Movie\u003c/em>, right?) But like a lot of other big names (Dave Chappelle, Amy Schumer, Chris Rock and others), Seinfeld has been wooed to Netflix. And there, he had creative carte blanche to do something different. \u003cem>Jerry Before Seinfeld \u003c/em>is a hybrid between a live comedy performance and an autobiographical documentary, framed around Seinfeld onstage at the intimate Comic Strip Live — the Manhattan club where he got his start back in 1976. His new material walks us through his life — from his childhood growing up \"ON\" Long Island to his move \"IN\" to the city to hustle for club spots. But he also revisits highlights and favorites from his earliest and oldest routines. In between, the special cuts away to montages of photos, home movies, and archival footage of young Seinfeld doing stand-up — all narrated with short interview snippets retelling his life story. While hardly a deep dive into what makes Jerry \u003cem>really\u003c/em> tick, it does give a breezy and fun glimpse into Seinfeld's meticulous crafting of jokes and how his comic sensibilities came into focus. — \u003cem>Mike Katzif\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>JULIO TORRES, \u003c/strong>\u003cem>\u003cstrong>COMEDY CENTRAL STAND-UP PRESENTS, SEASON 1, EPISODE 8 \u003c/strong>\u003c/em>\u003cstrong>(COMEDY CENTRAL, 2017)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vIrwSxYHIKE\u003c/p>\n\u003cp>The SNL digital short \u003ca href=\"https://www.youtube.com/watch?v=BONhk-hbiXk\">\u003cem>\"Wells For Boys\"\u003c/em>\u003c/a> is a small, crystalline masterpiece unlike the bulk of SNL's output – it's so quiet, so gentle, so assured. It lands as hard as it does with some of us (hi!) not just because it distills something we intimately recognize, but because it does so in such a vaguely ethereal, unforced manner. \u003ca href=\"http://www.vulture.com/2017/04/snl-writer-reveals-the-childhood-origins-of-wells-for-boys.html\">It was written by Julio Torres (with Jeremy Beller)\u003c/a>, whose stand-up special exudes that same quality of abstract but absolute confidence. His onstage affect is one of coy passivity, but his jokes are deftly constructed time bombs. He'll begin an anecdote and pause, or seem to stammer, and in those brief silences you can feel the audience growing restless, concerned. But then the punchline arrives with an implacable force that's surprising at first, until we realize how expertly we've been played. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>ALI WONG, \u003c/strong>\u003cstrong>\u003cem>HARD KNOCK WIFE\u003c/em>\u003c/strong>\u003cstrong> (NETFLIX, 2018)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6bB_XlzERp4\u003c/p>\n\u003cp>With her 2016 special, \u003cem>Baby Cobra\u003c/em>, Ali Wong became one of the first comedy stars to get her big breakthrough on Netflix and was immediately recognized as one of comedy's most thrilling talents. Then seven months pregnant, Wong unfurled a hilarious and gleefully filthy set about sex, race and how she \"trapped\" her now-husband (a Harvard business grad) so she could finally lead a life of leisure as a housewife. \"I don't want to \u003cem>lean in\u003c/em>. I want to \u003cem>LIE DOWN\u003c/em>,\" she famously quipped. Two years and one baby later, \u003cem>Hard Knock Wife\u003c/em> finds Wong unleashing great spitting fury about the realities of pregnancy and parenthood. \"I tried being a stay-at-home mom for eight weeks,\" she seethes. \"I liked the stay-at-home part.\" With a masterful knack for rhythmic pacing, Wong tackles a slew of topics, from her difficulties with breastfeeding to the need for paid maternity leave to the balance of work and family and her newfound fame — all deployed with an id-fueled onstage persona driven by impulsive inner thoughts too few acknowledge out loud. And perhaps the greatest joke of all: Despite the bluntly honest details about childbirth that she relishes sharing like they're from a horror movie, Wong is again visibly pregnant — a fact that goes completely, and brilliantly, unspoken. Here's hoping there's another set waiting for us in two years so we can catch up again. — \u003cem>Mike Katzif\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>BONUS RECOMMENDATIONS FOR EXTRA CREDIT (specials where a place to watch is listed, otherwise albums) (not an exhaustive list — ask us again sometime and we'll tell you a lot more): \u003c/strong>\u003c/p>\n\u003cp>NETFLIX'S \u003cem>THE CHARACTERS\u003c/em>: John Early, Kate Berlant, Natasha Rothwell\u003c/p>\n\u003cp>NETFLIX'S \u003cem>THE STAND-UPS\u003c/em>: Kyle Kinane, Aparna Nancherla\u003c/p>\n\u003cp>COMEDY CENTRAL STANDUP PRESENTS: Joel Kim Booster (also album: \u003cem>Model Minority\u003c/em>); Josh Johnson, Sam Jay\u003c/p>\n\u003cp>Guy Branum, \u003cem>Effable\u003c/em>\u003c/p>\n\u003cp>James Acaster, \u003cem>Repertoire \u003c/em>(NETFLIX)\u003c/p>\n\u003cp>John Mulaney, \u003cem>The Comeback Kid \u003c/em>(NETFLIX)\u003c/p>\n\u003cp>Hasan Minhaj, \u003cem>Homecoming King \u003c/em>(NETFLIX)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Chris Gethard, \u003cem>Career Suicide \u003c/em>(HBO)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Getting+Your+Laughs+Where+You+Can+In+The+Wide+World+Of+Stand-Up&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"disqusIdentifier": "104318 https://ww2.kqed.org/pop/?p=104318",
"disqusUrl": "https://ww2.kqed.org/pop/2018/06/25/all-the-stand-up-specials-you-should-be-streaming-right-now/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1858,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 26
},
"modified": 1529953979,
"excerpt": "Sure you know Ali Wong and Jerry Seinfeld—but have you checked out Julio Torres or Solomon Georgio yet? ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Sure you know Ali Wong and Jerry Seinfeld—but have you checked out Julio Torres or Solomon Georgio yet? ",
"title": "All the Stand-Up Specials You Should be Streaming Right Now | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "All the Stand-Up Specials You Should be Streaming Right Now",
"datePublished": "2018-06-25T12:12:59-07:00",
"dateModified": "2018-06-25T12:12:59-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "all-the-stand-up-specials-you-should-be-streaming-right-now",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=622532285&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Linda Holmes",
"nprStoryDate": "Mon, 25 Jun 2018 05:00:20 -0400",
"nprLastModifiedDate": "Mon, 25 Jun 2018 05:00:20 -0400",
"nprHtmlLink": "https://www.npr.org/sections/monkeysee/2018/06/25/622532285/getting-your-laughs-where-you-can-in-the-wide-world-of-stand-up?ft=nprml&f=622532285",
"nprImageAgency": "Netflix",
"nprStoryId": "622532285",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 25 Jun 2018 05:00:00 -0400",
"path": "/pop/104318/all-the-stand-up-specials-you-should-be-streaming-right-now",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How's your week going so far?\u003c/p>\n\u003cp>That well, huh? We understand.\u003c/p>\n\u003cp>Over on our show, \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\">\u003cem>Pop Culture Happy Hour\u003c/em>\u003c/a>, \u003ca href=\"https://www.npr.org/sections/monkeysee/2018/06/20/621428371/pop-culture-happy-hour-the-great-big-stand-up-roundup\">we recently spent an episode talking all about comedy specials\u003c/a>, which play a unique role for us in helping hard times feel a little less taxing. Stephen Thompson of NPR Music, Glen Weldon of the NPR arts desk, Mike Katzif of \u003ca href=\"https://www.npr.org/programs/ask-me-another/?showDate=2018-06-22?showDate=2018-06-22\">\u003cem>Ask Me Another\u003c/em>\u003c/a> and I chose two specials each to highlight from the last couple of years.\u003c/p>\n\u003cp>For a long time, the primary source of stand-up on television was basic cable, where half-hour specials with comics standing in front of brick walls proliferated. HBO made a mark with hour-long specials, many of which became nearly legendary.\u003c/p>\n\u003cp>But recently, the heaviest stomping feet in stand-up television have belonged to Netflix, which has spent huge money and landed specials from superstars like Chris Rock and Dave Chappelle, but is also giving opportunities to less famous performers whose biggest problem may be getting their work to stand out among the many (many, many) other Netflix offerings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So you'll see a lot of Netflix here, and in our special bonus recommendations at the end of the list. But you'll also see HBO, Comedy Central, and even one special that was released independently to raise money.\u003c/p>\n\u003cp>A note about \u003cem>Nanette\u003c/em>: On June 19, after we recorded our episode, Netflix released a recorded version of \u003ca href=\"https://www.netflix.com/title/80233611\">Hannah Gadsby's \u003cem>Nanette\u003c/em>\u003c/a>, a show that combines incisive, creative comedy with unsparing storytelling and righteous fury about misogyny, trauma and growing up as a lesbian in Tasmania, where homosexuality was illegal at the time. As the episode dropped, we were asked over and over by listeners to watch Gadsby's special — and I'm glad I did. It is an unforgettable, inventive hour unlike anything I've ever seen. It is comedy, and then it is something else, and then it is comedy again, and then it is something else again. The experimentation in this space continues to be thrilling and hugely valuable.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>MARIA BAMFORD, \u003c/strong>\u003cstrong>\u003cem>OLD BABY \u003c/em>\u003c/strong>\u003cstrong>(NETFLIX, 2017)\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/KPppxWCnlMM'\n title='//www.youtube.com/embed/KPppxWCnlMM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There's mining awkwardness for laughs, and then there's performing a stand-up routine in front of an audience so small, you can place each individual nervous chuckle. Maria Bamford begins \u003cem>Old Baby\u003c/em> by performing alone in front of a mirror, then figuratively pans out to speak to progressively larger crowds: her husband and their pugs, a few people in a bowling alley, and so on, all the way up to about 20 minutes of material in front of a typical theater crowd. An accomplished voice actor, Bamford gets the most out of her distinct cadence, her fearless takes on mental illness and her gift for embodying multiple characters in rapid succession; there's a bit in \u003cem>Old Baby\u003c/em> wherein she imitates her mother, her husband's mother, and her husband's \u003cem>imitation\u003c/em> of his mother. But she also scores points just for thoroughly upending expectations about what stand-up comedy should entail in the first place. — \u003cem>Stephen Thompson\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>MIKE BIRBIGLIA, \u003c/strong>\u003cem>\u003cstrong>THANK GOD FOR JOKES \u003c/strong>\u003c/em>\u003cstrong>(NETFLIX, 2017)\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/QOlnuN2PXbg'\n title='//www.youtube.com/embed/QOlnuN2PXbg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Thank God For Jokes \u003c/em>is a little different from a traditional stand-up special, as Birbiglia is a little different from a traditional stand-up. It's hard to draw meaningful lines between a stand-up and a storyteller, between a comedy special and a one-man show. But Birbiglia distinguishes himself perhaps most clearly by placing a single frame around this entire hour of comedy: his hosting of the Gotham Awards, an independent film awards show. He uses his own memories of deliberating over how to host the event successfully as the bones of an examination of what's funny to different audiences, how to keep people from hating you, what happens when you realize you've done the wrong thing before a live audience, and what it's like to be a broke, rock-bottom comic. The special is a wonder of structure and pacing, circling back and back to the Gotham Awards and back and back to earlier references, so smoothly that everything feels like one conversation — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>CAMERON ESPOSITO, \u003c/strong>\u003cstrong>\u003cem>RAPE JOKES \u003c/em>\u003c/strong>\u003cstrong>(INDEPENDENT, 2018)\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-104321\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-800x419.jpg\" alt=\"\" width=\"800\" height=\"419\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-800x419.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-160x84.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-768x402.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-1020x534.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-1180x618.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-960x502.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-240x126.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-375x196.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/Cameron-Esposito-Rape-Jokes-FB-520x272.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Cameron Esposito is stupendously good at using her own voice. Her shout is funny, her whisper is funny, and her conspiratorial, faux-polite, excruciatingly patient explanatory tone is funny. She released \u003ca href=\"https://www.cameronesposito.com/\">her special \u003cem>Rape Jokes \u003c/em>on her own site\u003c/a> to raise money for \u003ca href=\"https://www.rainn.org/\">RAINN\u003c/a>, an organization that fights sexual violence. The special does deal with sexual assault and jokes about sexual assault, as well as the tiresome complaints about \"P.C. culture\" that she likens to people insisting on calling Netflix \"talkies on my Blockbuster machine.\" But while it's impassioned, the special is never didactic in a way that distracts. Esposito uses the importance of her subject the way comics use mic stands: she leans on it, steps back from it, gestures toward it, stands away from it, and uses it to get laughs, but never lets it get too far away from the center of the stage. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>SOLOMON GEORGIO, \u003c/strong>\u003cem>\u003cstrong>COMEDY CENTRAL STAND-UP PRESENTS – SEASON 1, EPISODE 12 \u003c/strong>\u003c/em>\u003cstrong>(COMEDY CENTRAL, 2017)\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/k9hZy2q9S_U'\n title='//www.youtube.com/embed/k9hZy2q9S_U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The name of Georgio's 2017 stand-up album is \u003cem>Homonegro Superior\u003c/em>, and after watching him work the stage with such easy charm and confidence, you have to admit he makes a pretty good case. He's got a great suit, a healthy swagger and more than a touch of righteous indignation that, in other comics, might fuel a practiced, performative rant or six. But Georgio's not one to lose his cool like that – he keeps his indignation at a low simmer, infusing his jokes with a fierceness borne of growing up an African immigrant with a little something extra: \"I'm gay as hell,\" he says, \"and I'm \u003cem>great\u003c/em> at it.\" You watch, and nod to yourself, thinking, \u003cem>Yep, that tracks.\u003c/em> — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>HARI KONDABOLU, \u003c/strong>\u003cstrong>\u003cem>WARN YOUR RELATIVES \u003c/em>\u003c/strong>\u003cstrong>(NETFLIX, 2018)\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/R4pckD4HyY0'\n title='//www.youtube.com/embed/R4pckD4HyY0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An activist and comedian known in part for his documentary \u003ca href=\"https://en.wikipedia.org/wiki/The_Problem_with_Apu\">\u003cem>The Problem With Apu\u003c/em>,\u003c/a> Hari Kondabolu injects his stand-up material with the righteous indignation you might expect. But he also fills \u003cem>Warn Your Relatives\u003c/em> with sturdy, funny, silly, self-deprecating jokes — about everything from the TSA to getting heckled by Tracy Morgan — and injects his material with enormous affection for, among others, his immigrant mother, whose quips and text messages he reads to the audience with infectious appreciation. — \u003cem>Stephen Thompson\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>JERRY SEINFELD, \u003c/strong>\u003cstrong>\u003cem>JERRY BEFORE SEINFELD\u003c/em>\u003c/strong>\u003cstrong> (NETFLIX, 2017)\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/uqT0ayeR8Ps'\n title='//www.youtube.com/embed/uqT0ayeR8Ps'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It's fair to say that most fans of comedy are familiar with Jerry Seinfeld. (The guy from \u003cem>Bee Movie\u003c/em>, right?) But like a lot of other big names (Dave Chappelle, Amy Schumer, Chris Rock and others), Seinfeld has been wooed to Netflix. And there, he had creative carte blanche to do something different. \u003cem>Jerry Before Seinfeld \u003c/em>is a hybrid between a live comedy performance and an autobiographical documentary, framed around Seinfeld onstage at the intimate Comic Strip Live — the Manhattan club where he got his start back in 1976. His new material walks us through his life — from his childhood growing up \"ON\" Long Island to his move \"IN\" to the city to hustle for club spots. But he also revisits highlights and favorites from his earliest and oldest routines. In between, the special cuts away to montages of photos, home movies, and archival footage of young Seinfeld doing stand-up — all narrated with short interview snippets retelling his life story. While hardly a deep dive into what makes Jerry \u003cem>really\u003c/em> tick, it does give a breezy and fun glimpse into Seinfeld's meticulous crafting of jokes and how his comic sensibilities came into focus. — \u003cem>Mike Katzif\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>JULIO TORRES, \u003c/strong>\u003cem>\u003cstrong>COMEDY CENTRAL STAND-UP PRESENTS, SEASON 1, EPISODE 8 \u003c/strong>\u003c/em>\u003cstrong>(COMEDY CENTRAL, 2017)\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/vIrwSxYHIKE'\n title='//www.youtube.com/embed/vIrwSxYHIKE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The SNL digital short \u003ca href=\"https://www.youtube.com/watch?v=BONhk-hbiXk\">\u003cem>\"Wells For Boys\"\u003c/em>\u003c/a> is a small, crystalline masterpiece unlike the bulk of SNL's output – it's so quiet, so gentle, so assured. It lands as hard as it does with some of us (hi!) not just because it distills something we intimately recognize, but because it does so in such a vaguely ethereal, unforced manner. \u003ca href=\"http://www.vulture.com/2017/04/snl-writer-reveals-the-childhood-origins-of-wells-for-boys.html\">It was written by Julio Torres (with Jeremy Beller)\u003c/a>, whose stand-up special exudes that same quality of abstract but absolute confidence. His onstage affect is one of coy passivity, but his jokes are deftly constructed time bombs. He'll begin an anecdote and pause, or seem to stammer, and in those brief silences you can feel the audience growing restless, concerned. But then the punchline arrives with an implacable force that's surprising at first, until we realize how expertly we've been played. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>ALI WONG, \u003c/strong>\u003cstrong>\u003cem>HARD KNOCK WIFE\u003c/em>\u003c/strong>\u003cstrong> (NETFLIX, 2018)\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/6bB_XlzERp4'\n title='//www.youtube.com/embed/6bB_XlzERp4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With her 2016 special, \u003cem>Baby Cobra\u003c/em>, Ali Wong became one of the first comedy stars to get her big breakthrough on Netflix and was immediately recognized as one of comedy's most thrilling talents. Then seven months pregnant, Wong unfurled a hilarious and gleefully filthy set about sex, race and how she \"trapped\" her now-husband (a Harvard business grad) so she could finally lead a life of leisure as a housewife. \"I don't want to \u003cem>lean in\u003c/em>. I want to \u003cem>LIE DOWN\u003c/em>,\" she famously quipped. Two years and one baby later, \u003cem>Hard Knock Wife\u003c/em> finds Wong unleashing great spitting fury about the realities of pregnancy and parenthood. \"I tried being a stay-at-home mom for eight weeks,\" she seethes. \"I liked the stay-at-home part.\" With a masterful knack for rhythmic pacing, Wong tackles a slew of topics, from her difficulties with breastfeeding to the need for paid maternity leave to the balance of work and family and her newfound fame — all deployed with an id-fueled onstage persona driven by impulsive inner thoughts too few acknowledge out loud. And perhaps the greatest joke of all: Despite the bluntly honest details about childbirth that she relishes sharing like they're from a horror movie, Wong is again visibly pregnant — a fact that goes completely, and brilliantly, unspoken. Here's hoping there's another set waiting for us in two years so we can catch up again. — \u003cem>Mike Katzif\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>BONUS RECOMMENDATIONS FOR EXTRA CREDIT (specials where a place to watch is listed, otherwise albums) (not an exhaustive list — ask us again sometime and we'll tell you a lot more): \u003c/strong>\u003c/p>\n\u003cp>NETFLIX'S \u003cem>THE CHARACTERS\u003c/em>: John Early, Kate Berlant, Natasha Rothwell\u003c/p>\n\u003cp>NETFLIX'S \u003cem>THE STAND-UPS\u003c/em>: Kyle Kinane, Aparna Nancherla\u003c/p>\n\u003cp>COMEDY CENTRAL STANDUP PRESENTS: Joel Kim Booster (also album: \u003cem>Model Minority\u003c/em>); Josh Johnson, Sam Jay\u003c/p>\n\u003cp>Guy Branum, \u003cem>Effable\u003c/em>\u003c/p>\n\u003cp>James Acaster, \u003cem>Repertoire \u003c/em>(NETFLIX)\u003c/p>\n\u003cp>John Mulaney, \u003cem>The Comeback Kid \u003c/em>(NETFLIX)\u003c/p>\n\u003cp>Hasan Minhaj, \u003cem>Homecoming King \u003c/em>(NETFLIX)\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>Chris Gethard, \u003cem>Career Suicide \u003c/em>(HBO)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Getting+Your+Laughs+Where+You+Can+In+The+Wide+World+Of+Stand-Up&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/104318/all-the-stand-up-specials-you-should-be-streaming-right-now",
"authors": [
"byline_pop_104318"
],
"categories": [
"pop_2696"
],
"tags": [
"pop_3057",
"pop_438"
],
"featImg": "pop_104322",
"label": "pop"
},
"pop_104255": {
"type": "posts",
"id": "pop_104255",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "104255",
"score": null,
"sort": [
1529519956000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1529519956,
"format": "standard",
"disqusTitle": "'This is a Moment, Honey': Jonathan and Antoni on the Magic of 'Queer Eye'",
"title": "'This is a Moment, Honey': Jonathan and Antoni on the Magic of 'Queer Eye'",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Grab the tissues — the Fab Five are back with a second season of Netflix's \u003ca href=\"https://www.imdb.com/title/tt7259746/?ref_=nv_sr_1\">\u003cem>Queer Eye\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>For the uninitiated, \u003cem>Queer Eye\u003c/em> is a makeover show where five gay men with different areas of expertise (fashion, food, grooming, interior design) have a week to help change the life of one person, who they refer to as a \"hero.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=97Gh0LRdKu4\u003c/p>\n\u003cp>The show is based on \u003ca href=\"https://www.imdb.com/title/tt0358332/?ref_=nv_sr_1\">\u003cem>Queer Eye for the Straight Guy\u003c/em>\u003c/a>, which aired on Bravo in the 2000s. But the Netflix series has moved beyond the original, which focused on men. Season two opens with a hero named Tammye Hicks, an active church member who talks about how she came to accept her gay son.\u003c/p>\n\u003cp>Cast member Antoni Porowski (food) says, \"That was really an episode where I think the tables were turned. I feel like with a lot of the heroes, we tend to try to bring out parts of them that they want to discuss, and we sort of help facilitate that. With Tammye, it really switched and I feel like she called us out on a lot of our stuff and really brought a lot of things to light.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Porowski and Jonathan Van Ness (grooming) tell NPR about the heartwarming Tammye episode and how they respond to the show's critics.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why\u003c/strong> \u003cstrong>Porowski was especially moved by Tammye's story\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Porowski: \u003c/strong>I'll kind of leave it as I've had a problematic relationship growing up with my parents. Things are a lot better right now, but it's definitely been a work in progress, and unconditional love from a parent is not something that I take for granted.\u003c/p>\n\u003cp>And to see somebody like Tammye, who is so embedded in her religion — it's something that's very important to her — and was able to realize it wasn't the Bible, it wasn't religion; it was the way that she chose to look at her son being gay, and how he was or wasn't accepted into the church. And for somebody to sort of have that humility and realize: No, the problem is me. It's the way that I'm looking at the situation. The facts are all the same, it's just the angle at which I'm looking at the situation — specifically, her son being gay. That's something that really touched me.\u003c/p>\n\u003cfigure id=\"attachment_104257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-104257 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tammye Hicks (far right) thanks the Fab Five (Karamo Brown, Porowski, Tan France, Bobby Berk, Van Ness) at the end of the season two premiere. (Pictured at far left: Tammye's son, Myles Hicks.) (Courtesy of Netflix)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On a common struggle for the show's heroes\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Van Ness:\u003c/strong> So much of what [Tammye] struggles with so many moms and women, and men actually — a lot of men struggle with that thing that Tammye did, which is just nurturing other people to a point where you lost sight of taking care of yourself, and equating self-care with selfishness. And so I was really excited for Tammye for that because it's like that whole airplane adage — like, you gotta put your little mask on first, because if your little mask isn't on, how are you gonna help me get my mask on? ...\u003c/p>\n\u003cp>And so I'm like, \"Tammye, giving so much of yourself all the time, you won't have much left to give if you don't nurture yourself a little bit.\" And I think that's something that we all struggle with because I think most of us want to do the best that we can, and I think a lot of us struggle with people pleasing. I know I do. And sometimes, you know, saying, \"No, I'm going to do this for myself,\" is very difficult.\u003c/p>\n\u003cp>\u003cstrong>On whether it was hurtful when some viewers started questioning Porowski's cooking abilities\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Porowski: \u003c/strong>It was at first, especially because as soon as the show came out it was like this explosion of love and nothing but praise, and then suddenly you see like one bad thing, and it's like, \u003cem>Oh my gosh\u003c/em>. I mean luckily for the bad, it's very troll-y, blog-y; for the most part no publication that I really deeply respect very much. But it's still — if I'm going to be taking the good, I have to take the bad with it as well. ...\u003c/p>\n\u003cp>\u003cstrong>Van Ness:\u003c/strong> That whole cooking-gate thing, that was really painful for me personally because I ate your gorgeous oatmeal all the time. I ate your gorgeous smoothies all the time. I ate your gorgeous fajitas all the time. ... And when anyone brings it up it makes me want to — like, next thing I know my finger is going, my neck is going, I'm having a whole thing. I'm like, \"Do you want a menu? What do you need from me to make you understand how good he cooks? What do you need?\"\u003c/p>\n\u003cp>\u003cstrong>On why the reboot has been such a hit\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Van Ness:\u003c/strong> People are so hungry for something that's not so divisive and not so mean. ... I call it the British baking effect, like \u003ca href=\"https://www.npr.org/sections/monkeysee/2016/07/01/484184090/the-bun-also-rises-why-we-love-the-great-british-baking-show\">the British baking show effect\u003c/a>, because I watch this show like morning, noon and night, all the time. It's like my all-the-time palate cleanser from the news. We just want to feel good about something, and I think that \u003cem>Queer Eye\u003c/em> I has a little bit of that magic.\u003c/p>\n\u003cp>\u003cstrong>On adjusting to their newfound celebrity\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Van Ness: \u003c/strong>We just had Pride in L.A. last weekend and I was on this float just living my best Pride life, but I was kind of hidden on this float just kind of waving and popping out. But then this boy on an intercom on the float started being like, \"Jonathan Van Ness from \u003cem>Queer Eye\u003c/em>.\" And ... people would literally point and start shaking and crying to a point where I was like, \"Oh my God.\" ... This is how people were reacting to Meghan Markle. When they would see me, it's like an imaginary person would like punch them in the stomach and they would just start pointing and crying. Not everyone, but a lot of people. And I was like, \"This feels like Meghan Markle! This is a moment, honey!\" ...\u003c/p>\n\u003cp>\u003cstrong>Porowski:\u003c/strong> There's something so weirdly overwhelming about it. One thing I did that has managed to really dissipate in a big way, and I'm really happy about, is like the whole impostor syndrome. Like: Oh my God, I tricked everyone into thinking I can cook and actually be on TV and present myself and make complete sentences without like mumbling and jumbling my words, like I just did. So that part I sort of got over. But then it's like God forbid I accept the fact of what's going on right now. Like, what would happen then if I actually — my voice quivers thinking about it, it's sort of like letting yourself enjoy it which is a hard thing for me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Kevin Tidmarsh and Andrew Jones produced and edited this interview for broadcast. Nicole Cohen adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27This+Is+A+Moment%2C+Honey%27%3A+%27Queer+Eye%27+Gurus+Jonathan+And+Antoni+On+The+Show%27s+Magic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"disqusIdentifier": "104255 https://ww2.kqed.org/pop/?p=104255",
"disqusUrl": "https://ww2.kqed.org/pop/2018/06/20/this-is-a-moment-honey-queer-eye-gurus-jonathan-and-antoni-on-the-shows-magic/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1224,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1529555482,
"excerpt": "Fab Five members Jonathan Van Ness and Antoni Porowski talk about why the reboot has been such a hit. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Fab Five members Jonathan Van Ness and Antoni Porowski talk about why the reboot has been such a hit. ",
"title": "'This is a Moment, Honey': Jonathan and Antoni on the Magic of 'Queer Eye' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'This is a Moment, Honey': Jonathan and Antoni on the Magic of 'Queer Eye'",
"datePublished": "2018-06-20T11:39:16-07:00",
"dateModified": "2018-06-20T21:31:22-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "this-is-a-moment-honey-queer-eye-gurus-jonathan-and-antoni-on-the-shows-magic",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=621149796&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "David Greene",
"nprStoryDate": "Wed, 20 Jun 2018 05:07:00 -0400",
"nprLastModifiedDate": "Wed, 20 Jun 2018 06:04:09 -0400",
"nprHtmlLink": "https://www.npr.org/2018/06/20/621149796/this-is-a-moment-honey-queer-eye-gurus-jonathan-and-antoni-on-the-show-s-magic?ft=nprml&f=621149796",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2018/06/20180620_me_this_is_a_moment_honey_queer_eye_gurus_jonathan_and_antoni_on_the_shows_magic.mp3?orgId=1&topicId=1138&d=434&p=3&story=621149796&ft=nprml&f=621149796",
"nprImageAgency": "NPR",
"nprImageCredit": "Annabel Edwards",
"nprAudioM3u": "http://api.npr.org/m3u/1621727005-21f84e.m3u?orgId=1&topicId=1138&d=434&p=3&story=621149796&ft=nprml&f=621149796",
"nprStoryId": "621149796",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 20 Jun 2018 09:18:00 -0400",
"path": "/pop/104255/this-is-a-moment-honey-queer-eye-gurus-jonathan-and-antoni-on-the-shows-magic",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2018/06/20180620_me_this_is_a_moment_honey_queer_eye_gurus_jonathan_and_antoni_on_the_shows_magic.mp3?orgId=1&topicId=1138&d=434&p=3&story=621149796&ft=nprml&f=621149796",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Grab the tissues — the Fab Five are back with a second season of Netflix's \u003ca href=\"https://www.imdb.com/title/tt7259746/?ref_=nv_sr_1\">\u003cem>Queer Eye\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>For the uninitiated, \u003cem>Queer Eye\u003c/em> is a makeover show where five gay men with different areas of expertise (fashion, food, grooming, interior design) have a week to help change the life of one person, who they refer to as a \"hero.\"\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/97Gh0LRdKu4'\n title='//www.youtube.com/embed/97Gh0LRdKu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show is based on \u003ca href=\"https://www.imdb.com/title/tt0358332/?ref_=nv_sr_1\">\u003cem>Queer Eye for the Straight Guy\u003c/em>\u003c/a>, which aired on Bravo in the 2000s. But the Netflix series has moved beyond the original, which focused on men. Season two opens with a hero named Tammye Hicks, an active church member who talks about how she came to accept her gay son.\u003c/p>\n\u003cp>Cast member Antoni Porowski (food) says, \"That was really an episode where I think the tables were turned. I feel like with a lot of the heroes, we tend to try to bring out parts of them that they want to discuss, and we sort of help facilitate that. With Tammye, it really switched and I feel like she called us out on a lot of our stuff and really brought a lot of things to light.\"\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>Porowski and Jonathan Van Ness (grooming) tell NPR about the heartwarming Tammye episode and how they respond to the show's critics.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why\u003c/strong> \u003cstrong>Porowski was especially moved by Tammye's story\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Porowski: \u003c/strong>I'll kind of leave it as I've had a problematic relationship growing up with my parents. Things are a lot better right now, but it's definitely been a work in progress, and unconditional love from a parent is not something that I take for granted.\u003c/p>\n\u003cp>And to see somebody like Tammye, who is so embedded in her religion — it's something that's very important to her — and was able to realize it wasn't the Bible, it wasn't religion; it was the way that she chose to look at her son being gay, and how he was or wasn't accepted into the church. And for somebody to sort of have that humility and realize: No, the problem is me. It's the way that I'm looking at the situation. The facts are all the same, it's just the angle at which I'm looking at the situation — specifically, her son being gay. That's something that really touched me.\u003c/p>\n\u003cfigure id=\"attachment_104257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-104257 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/06/qeye_201_sg_00260r_wide-81f4fd6de979be9362999fb222c6ee654bbe8552-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tammye Hicks (far right) thanks the Fab Five (Karamo Brown, Porowski, Tan France, Bobby Berk, Van Ness) at the end of the season two premiere. (Pictured at far left: Tammye's son, Myles Hicks.) (Courtesy of Netflix)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On a common struggle for the show's heroes\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Van Ness:\u003c/strong> So much of what [Tammye] struggles with so many moms and women, and men actually — a lot of men struggle with that thing that Tammye did, which is just nurturing other people to a point where you lost sight of taking care of yourself, and equating self-care with selfishness. And so I was really excited for Tammye for that because it's like that whole airplane adage — like, you gotta put your little mask on first, because if your little mask isn't on, how are you gonna help me get my mask on? ...\u003c/p>\n\u003cp>And so I'm like, \"Tammye, giving so much of yourself all the time, you won't have much left to give if you don't nurture yourself a little bit.\" And I think that's something that we all struggle with because I think most of us want to do the best that we can, and I think a lot of us struggle with people pleasing. I know I do. And sometimes, you know, saying, \"No, I'm going to do this for myself,\" is very difficult.\u003c/p>\n\u003cp>\u003cstrong>On whether it was hurtful when some viewers started questioning Porowski's cooking abilities\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Porowski: \u003c/strong>It was at first, especially because as soon as the show came out it was like this explosion of love and nothing but praise, and then suddenly you see like one bad thing, and it's like, \u003cem>Oh my gosh\u003c/em>. I mean luckily for the bad, it's very troll-y, blog-y; for the most part no publication that I really deeply respect very much. But it's still — if I'm going to be taking the good, I have to take the bad with it as well. ...\u003c/p>\n\u003cp>\u003cstrong>Van Ness:\u003c/strong> That whole cooking-gate thing, that was really painful for me personally because I ate your gorgeous oatmeal all the time. I ate your gorgeous smoothies all the time. I ate your gorgeous fajitas all the time. ... And when anyone brings it up it makes me want to — like, next thing I know my finger is going, my neck is going, I'm having a whole thing. I'm like, \"Do you want a menu? What do you need from me to make you understand how good he cooks? What do you need?\"\u003c/p>\n\u003cp>\u003cstrong>On why the reboot has been such a hit\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Van Ness:\u003c/strong> People are so hungry for something that's not so divisive and not so mean. ... I call it the British baking effect, like \u003ca href=\"https://www.npr.org/sections/monkeysee/2016/07/01/484184090/the-bun-also-rises-why-we-love-the-great-british-baking-show\">the British baking show effect\u003c/a>, because I watch this show like morning, noon and night, all the time. It's like my all-the-time palate cleanser from the news. We just want to feel good about something, and I think that \u003cem>Queer Eye\u003c/em> I has a little bit of that magic.\u003c/p>\n\u003cp>\u003cstrong>On adjusting to their newfound celebrity\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Van Ness: \u003c/strong>We just had Pride in L.A. last weekend and I was on this float just living my best Pride life, but I was kind of hidden on this float just kind of waving and popping out. But then this boy on an intercom on the float started being like, \"Jonathan Van Ness from \u003cem>Queer Eye\u003c/em>.\" And ... people would literally point and start shaking and crying to a point where I was like, \"Oh my God.\" ... This is how people were reacting to Meghan Markle. When they would see me, it's like an imaginary person would like punch them in the stomach and they would just start pointing and crying. Not everyone, but a lot of people. And I was like, \"This feels like Meghan Markle! This is a moment, honey!\" ...\u003c/p>\n\u003cp>\u003cstrong>Porowski:\u003c/strong> There's something so weirdly overwhelming about it. One thing I did that has managed to really dissipate in a big way, and I'm really happy about, is like the whole impostor syndrome. Like: Oh my God, I tricked everyone into thinking I can cook and actually be on TV and present myself and make complete sentences without like mumbling and jumbling my words, like I just did. So that part I sort of got over. But then it's like God forbid I accept the fact of what's going on right now. Like, what would happen then if I actually — my voice quivers thinking about it, it's sort of like letting yourself enjoy it which is a hard thing for me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Kevin Tidmarsh and Andrew Jones produced and edited this interview for broadcast. Nicole Cohen adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27This+Is+A+Moment%2C+Honey%27%3A+%27Queer+Eye%27+Gurus+Jonathan+And+Antoni+On+The+Show%27s+Magic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/104255/this-is-a-moment-honey-queer-eye-gurus-jonathan-and-antoni-on-the-shows-magic",
"authors": [
"byline_pop_104255"
],
"categories": [
"pop_3"
],
"tags": [
"pop_438",
"pop_3147"
],
"featImg": "pop_104256",
"label": "pop"
},
"pop_103934": {
"type": "posts",
"id": "pop_103934",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "103934",
"score": null,
"sort": [
1528115533000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1528115533,
"format": "standard",
"disqusTitle": "Dear '13 Reasons Why,' Tattoos and Self-Harm Aren't Interchangeable",
"title": "Dear '13 Reasons Why,' Tattoos and Self-Harm Aren't Interchangeable",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>There are many things that Season 1 of Netflix drama \u003ca href=\"https://www.youtube.com/watch?v=ia0ZjmuvyQk\">\u003cem>13 Reasons Why\u003c/em>\u003c/a> did phenomenally well. It was an unflinching look at the oft-dismissed hardships of being a teenager; it was an examination of the lack of assistance for young rape survivors; and it understood that, even when kids come from loving, supportive homes, they don't necessarily know where to go when they're in trouble. What made the show even more vital was that it was a major, unexpected conversation-starter among young people and parents alike.\u003c/p>\n\u003cp>Season 2 knows this, and, as a result, is far more heavy-handed about, well, everything. In addition to the sexual assault themes started in the first season, we now have heroin addiction, school shootings, a Brock Turner-esque court case, and self harm, courtesy of Clay's heavily tattooed love interest, Skye.\u003c/p>\n\u003cp>When it comes to the teenage personalities in the show, Skye represents the laziest caricature. She's not the only tattooed person in \u003cem>13 Reasons Why\u003c/em>, but she is the only one almost entirely defined by them. Her first appearance in the new season is literally at a tattoo shop, where her ability to handle pain is contrasted starkly with Clay, who passes out halfway through getting a semicolon tattooed on his wrist. It's a preamble to Skye's next appearance, in which Clay discovers she is still self-harming (a subject that was only briefly touched on in Season 1).\u003c/p>\n\u003cp>When it comes to Skye, \u003cem>13 Reasons Why\u003c/em> repeatedly draws a misleading and damaging parallel between body art and self-harm. Skye herself puts them in the same category, during an exchange with Clay that occurs after he is too emotionally distracted to perform sexually. “Are you ashamed of me?\" she asks. \"It doesn’t have to do with the way that I look? Or that I have tattoos and piercings and cuts all over?” After Clay reassures her that he doesn't \"care about that stuff,\" she gets out of bed, visibly upset and says, \"You don't care.\" Here, her body modifications and cutting are one and the same -- a cry for help. She promptly goes home and hurts herself to such a degree that she winds up in hospital.\u003c/p>\n\u003cp>The end of Skye's story arc sees her inside a mental health facility, very much on the road to recovery, in a better mood and committed to healing. It's no coincidence that, in these scenes, her lip piercing has been removed and all of her tattoos are covered up. It's symbolic of the fact that she's no longer screwed up, angry, and hurting herself. Here, she expresses a desire to \"hit the reset button,\" and covering her body art seems to be part of that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ia0ZjmuvyQk\u003c/p>\n\u003cp>Given how seriously the series takes itself in terms of getting \u003ca href=\"https://13reasonswhy.info/\">real-life help to real-life kids who need it\u003c/a>, \u003cem>13 Reasons Why'\u003c/em>s commitment to drawing a parallel between tattoos and poor mental health doesn't just do a disservice to tattooed people, it encourages stereotypes about who is mostly likely to self-harm. It also doubles down on old-fashioned, conservative ideas about the kinds of women who get tattooed. (\"Think of poor, frail Amy Winehouse, her emaciated limbs decorated,\" implores \u003ca href=\"http://www.dailymail.co.uk/debate/article-2654596/SARAH-VINE-Body-art-No-tattoos-hideous-self-harm.html\">the Daily Mail\u003c/a>.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.bigtattooplanet.com/features/regional/tattooing-and-self-harm\">\u003cem>Big Tattoo Planet\u003c/em>\u003c/a> points out the difference between tattooing and self-harm in these handy lists:\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>Tattoo:\u003c/em>\u003cbr>\n\u003cem> • Pre-meditated and considered behaviour\u003c/em>\u003cbr>\n\u003cem> • Results usually for purposeful display\u003c/em>\u003cbr>\n\u003cem> • Primary attention gains\u003c/em>\u003cbr>\n\u003cem> • Proud of results\u003c/em>\u003cbr>\n\u003cem> • Result is key focus\u003c/em>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>Self-Harm:\u003c/em>\u003cbr>\n\u003cem> • Reactive, compulsive behaviour\u003c/em>\u003cbr>\n\u003cem> • Results not usually for display\u003c/em>\u003cbr>\n\u003cem> • Secondary attention gains\u003c/em>\u003cbr>\n\u003cem> • Not proud of results\u003c/em>\u003cbr>\n\u003cem> • Process is key focus\u003c/em>\u003c/p>\n\u003cp>In an article for \u003ca href=\"https://www.psychologytoday.com/us/blog/the-scarred-soul/200912/tattoos-and-piercings-self-injury\">\u003cem>Psychology Today\u003c/em>\u003c/a>, Tracy Alderman Ph.D. backs up those differentiations, writing that \"overwhelmingly, self-injury is a distinct behavior, in definition, method and purpose, from tattooing and piercing… Self-injurers go to great lengths to cover and disguise their wounds and scars. Self-injurers are not proud of their new decorations.\"\u003c/p>\n\u003cp>That's not to say that self-harmers don't ever get tattooed. In a \u003ca href=\"https://www.ncbi.nlm.nih.gov/pubmed/18815984\">2008 study\u003c/a>, researchers found that, in a survey of tattooed people, \"Twenty-seven percent of the participants admitted self-cutting during childhood,\" but \"\u003ca href=\"https://digest.bps.org.uk/2008/07/16/tattoos-body-piercings-and-self-harm-is-there-a-link/\">most people who partake\u003c/a> in body modification clearly do not do it because they have any psychological problems.\"\u003c/p>\n\u003cp>In fact, tattooing is frequently employed by ex-self-harmers as a sign of closure and healing, as with the woman in the BBC video below. Her artist, \u003ca href=\"https://www.instagram.com/poppysmallhandstattoo/\">Poppy Segger\u003c/a> notes: “For a lot of people that I've tattooed, especially over scarring from them self-harming, they do have a whole new outlook after because that’s a part they can just put to bed now. Let it go.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j780be5nngs\u003c/p>\n\u003cp>Another ex-cutter \u003ca href=\"https://www.vice.com/en_us/article/gqm534/summer-is-the-hardest-time-to-hide-self-harm-scars-511\">told \u003cem>Vice\u003c/em>:\u003c/a> \"After years and years of hiding that part of your body, all of a sudden you're proud of it. I wanted to show people. It changed my life.\" Another interviewee said: \"It is something that was a decision: Did I want to have my body on display as a harmed thing or did I want to display it with something I had chosen?\"\u003c/p>\n\u003cp>A \u003ca href=\"https://onlinelibrary.wiley.com/doi/pdf/10.1002/erv.612\">2005 study conducted by the Wiley Library\u003c/a> backs up the anecdotal evidence. In relation to patients with eating disorders, the conclusion was drawn that \"piercing and tattooing seem to reflect more self‐care, and might protect some patients against more self‐harm.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Back in \u003cem>13 Reasons Why\u003c/em>-land, the idea that Skye would get a lot of tattoos in parallel with her self-harm, then cover them up as part of her recovery, is in direct contradiction to reality for the vast majority of real-life self-harmers. Portraying her character in this way is likely to strike fear in a lot of parents of alternative kids, while also encouraging assumptions among teens and young people about their tattooed peers. The fact that \u003cem>13 Reasons Why\u003c/em> just gave bullies extra ammunition to harass weird kids isn't just ironic, it's irresponsible.\u003c/p>\n\n",
"disqusIdentifier": "103934 https://ww2.kqed.org/pop/?p=103934",
"disqusUrl": "https://ww2.kqed.org/pop/2018/06/04/dear-13-reasons-why-tattoos-and-self-harm-arent-interchangeable/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1048,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1528136121,
"excerpt": "The Netflix hit's second season turns Skye Miller into a lazy caricature that's harmful to alternative kids.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Netflix hit's second season turns Skye Miller into a lazy caricature that's harmful to alternative kids.",
"title": "Dear '13 Reasons Why,' Tattoos and Self-Harm Aren't Interchangeable | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Dear '13 Reasons Why,' Tattoos and Self-Harm Aren't Interchangeable",
"datePublished": "2018-06-04T05:32:13-07:00",
"dateModified": "2018-06-04T11:15:21-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "dear-13-reasons-why-tattoos-and-self-harm-arent-interchangeable",
"status": "publish",
"path": "/pop/103934/dear-13-reasons-why-tattoos-and-self-harm-arent-interchangeable",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are many things that Season 1 of Netflix drama \u003ca href=\"https://www.youtube.com/watch?v=ia0ZjmuvyQk\">\u003cem>13 Reasons Why\u003c/em>\u003c/a> did phenomenally well. It was an unflinching look at the oft-dismissed hardships of being a teenager; it was an examination of the lack of assistance for young rape survivors; and it understood that, even when kids come from loving, supportive homes, they don't necessarily know where to go when they're in trouble. What made the show even more vital was that it was a major, unexpected conversation-starter among young people and parents alike.\u003c/p>\n\u003cp>Season 2 knows this, and, as a result, is far more heavy-handed about, well, everything. In addition to the sexual assault themes started in the first season, we now have heroin addiction, school shootings, a Brock Turner-esque court case, and self harm, courtesy of Clay's heavily tattooed love interest, Skye.\u003c/p>\n\u003cp>When it comes to the teenage personalities in the show, Skye represents the laziest caricature. She's not the only tattooed person in \u003cem>13 Reasons Why\u003c/em>, but she is the only one almost entirely defined by them. Her first appearance in the new season is literally at a tattoo shop, where her ability to handle pain is contrasted starkly with Clay, who passes out halfway through getting a semicolon tattooed on his wrist. It's a preamble to Skye's next appearance, in which Clay discovers she is still self-harming (a subject that was only briefly touched on in Season 1).\u003c/p>\n\u003cp>When it comes to Skye, \u003cem>13 Reasons Why\u003c/em> repeatedly draws a misleading and damaging parallel between body art and self-harm. Skye herself puts them in the same category, during an exchange with Clay that occurs after he is too emotionally distracted to perform sexually. “Are you ashamed of me?\" she asks. \"It doesn’t have to do with the way that I look? Or that I have tattoos and piercings and cuts all over?” After Clay reassures her that he doesn't \"care about that stuff,\" she gets out of bed, visibly upset and says, \"You don't care.\" Here, her body modifications and cutting are one and the same -- a cry for help. She promptly goes home and hurts herself to such a degree that she winds up in hospital.\u003c/p>\n\u003cp>The end of Skye's story arc sees her inside a mental health facility, very much on the road to recovery, in a better mood and committed to healing. It's no coincidence that, in these scenes, her lip piercing has been removed and all of her tattoos are covered up. It's symbolic of the fact that she's no longer screwed up, angry, and hurting herself. Here, she expresses a desire to \"hit the reset button,\" and covering her body art seems to be part of that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ia0ZjmuvyQk'\n title='//www.youtube.com/embed/ia0ZjmuvyQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Given how seriously the series takes itself in terms of getting \u003ca href=\"https://13reasonswhy.info/\">real-life help to real-life kids who need it\u003c/a>, \u003cem>13 Reasons Why'\u003c/em>s commitment to drawing a parallel between tattoos and poor mental health doesn't just do a disservice to tattooed people, it encourages stereotypes about who is mostly likely to self-harm. It also doubles down on old-fashioned, conservative ideas about the kinds of women who get tattooed. (\"Think of poor, frail Amy Winehouse, her emaciated limbs decorated,\" implores \u003ca href=\"http://www.dailymail.co.uk/debate/article-2654596/SARAH-VINE-Body-art-No-tattoos-hideous-self-harm.html\">the Daily Mail\u003c/a>.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.bigtattooplanet.com/features/regional/tattooing-and-self-harm\">\u003cem>Big Tattoo Planet\u003c/em>\u003c/a> points out the difference between tattooing and self-harm in these handy lists:\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>Tattoo:\u003c/em>\u003cbr>\n\u003cem> • Pre-meditated and considered behaviour\u003c/em>\u003cbr>\n\u003cem> • Results usually for purposeful display\u003c/em>\u003cbr>\n\u003cem> • Primary attention gains\u003c/em>\u003cbr>\n\u003cem> • Proud of results\u003c/em>\u003cbr>\n\u003cem> • Result is key focus\u003c/em>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>Self-Harm:\u003c/em>\u003cbr>\n\u003cem> • Reactive, compulsive behaviour\u003c/em>\u003cbr>\n\u003cem> • Results not usually for display\u003c/em>\u003cbr>\n\u003cem> • Secondary attention gains\u003c/em>\u003cbr>\n\u003cem> • Not proud of results\u003c/em>\u003cbr>\n\u003cem> • Process is key focus\u003c/em>\u003c/p>\n\u003cp>In an article for \u003ca href=\"https://www.psychologytoday.com/us/blog/the-scarred-soul/200912/tattoos-and-piercings-self-injury\">\u003cem>Psychology Today\u003c/em>\u003c/a>, Tracy Alderman Ph.D. backs up those differentiations, writing that \"overwhelmingly, self-injury is a distinct behavior, in definition, method and purpose, from tattooing and piercing… Self-injurers go to great lengths to cover and disguise their wounds and scars. Self-injurers are not proud of their new decorations.\"\u003c/p>\n\u003cp>That's not to say that self-harmers don't ever get tattooed. In a \u003ca href=\"https://www.ncbi.nlm.nih.gov/pubmed/18815984\">2008 study\u003c/a>, researchers found that, in a survey of tattooed people, \"Twenty-seven percent of the participants admitted self-cutting during childhood,\" but \"\u003ca href=\"https://digest.bps.org.uk/2008/07/16/tattoos-body-piercings-and-self-harm-is-there-a-link/\">most people who partake\u003c/a> in body modification clearly do not do it because they have any psychological problems.\"\u003c/p>\n\u003cp>In fact, tattooing is frequently employed by ex-self-harmers as a sign of closure and healing, as with the woman in the BBC video below. Her artist, \u003ca href=\"https://www.instagram.com/poppysmallhandstattoo/\">Poppy Segger\u003c/a> notes: “For a lot of people that I've tattooed, especially over scarring from them self-harming, they do have a whole new outlook after because that’s a part they can just put to bed now. Let it go.”\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/j780be5nngs'\n title='//www.youtube.com/embed/j780be5nngs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another ex-cutter \u003ca href=\"https://www.vice.com/en_us/article/gqm534/summer-is-the-hardest-time-to-hide-self-harm-scars-511\">told \u003cem>Vice\u003c/em>:\u003c/a> \"After years and years of hiding that part of your body, all of a sudden you're proud of it. I wanted to show people. It changed my life.\" Another interviewee said: \"It is something that was a decision: Did I want to have my body on display as a harmed thing or did I want to display it with something I had chosen?\"\u003c/p>\n\u003cp>A \u003ca href=\"https://onlinelibrary.wiley.com/doi/pdf/10.1002/erv.612\">2005 study conducted by the Wiley Library\u003c/a> backs up the anecdotal evidence. In relation to patients with eating disorders, the conclusion was drawn that \"piercing and tattooing seem to reflect more self‐care, and might protect some patients against more self‐harm.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Back in \u003cem>13 Reasons Why\u003c/em>-land, the idea that Skye would get a lot of tattoos in parallel with her self-harm, then cover them up as part of her recovery, is in direct contradiction to reality for the vast majority of real-life self-harmers. Portraying her character in this way is likely to strike fear in a lot of parents of alternative kids, while also encouraging assumptions among teens and young people about their tattooed peers. The fact that \u003cem>13 Reasons Why\u003c/em> just gave bullies extra ammunition to harass weird kids isn't just ironic, it's irresponsible.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/103934/dear-13-reasons-why-tattoos-and-self-harm-arent-interchangeable",
"authors": [
"11242"
],
"categories": [
"pop_3"
],
"tags": [
"pop_3221",
"pop_438"
],
"featImg": "pop_103936",
"label": "pop"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/pop?tag=netflix": {
"isFetching": false,
"latestQuery": {
"from": 24,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 53,
"relation": "eq"
},
"items": [
"pop_106947",
"pop_106753",
"pop_106718",
"pop_105924",
"pop_105900",
"pop_105735",
"pop_105043",
"pop_104464",
"pop_104402",
"pop_104318",
"pop_104255",
"pop_103934"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"pop_tag_netflix": {
"isLoading": true
},
"pop_438": {
"type": "terms",
"id": "pop_438",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "438",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Netflix",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Netflix Archives | KQED Arts",
"ogDescription": null
},
"ttid": 438,
"slug": "netflix",
"isLoading": false,
"link": "/pop/tag/netflix"
},
"pop_2696": {
"type": "terms",
"id": "pop_2696",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "2696",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2702,
"slug": "comedy-2",
"isLoading": false,
"link": "/pop/category/comedy-2"
},
"pop_3": {
"type": "terms",
"id": "pop_3",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3,
"slug": "tv",
"isLoading": false,
"link": "/pop/category/tv"
},
"pop_3331": {
"type": "terms",
"id": "pop_3331",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3331",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hasan Minhaj",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Hasan Minhaj Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3331,
"slug": "hasan-minhaj",
"isLoading": false,
"link": "/pop/tag/hasan-minhaj"
},
"pop_439": {
"type": "terms",
"id": "pop_439",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "439",
"found": true
},
"relationships": {},
"featImg": null,
"name": "House of Cards",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "House of Cards Archives | KQED Arts",
"ogDescription": null
},
"ttid": 439,
"slug": "house-of-cards",
"isLoading": false,
"link": "/pop/tag/house-of-cards"
},
"pop_3126": {
"type": "terms",
"id": "pop_3126",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3126",
"found": true
},
"relationships": {},
"featImg": null,
"name": "MeToo",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "MeToo Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3126,
"slug": "metoo",
"isLoading": false,
"link": "/pop/tag/metoo"
},
"pop_3011": {
"type": "terms",
"id": "pop_3011",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3011",
"found": true
},
"relationships": {},
"featImg": null,
"name": "BBC",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "BBC Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3011,
"slug": "bbc",
"isLoading": false,
"link": "/pop/tag/bbc"
},
"pop_3322": {
"type": "terms",
"id": "pop_3322",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3322",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Bodyguard",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Bodyguard Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3322,
"slug": "bodyguard",
"isLoading": false,
"link": "/pop/tag/bodyguard"
},
"pop_3039": {
"type": "terms",
"id": "pop_3039",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3039",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Emma Stone",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Emma Stone Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3039,
"slug": "emma-stone",
"isLoading": false,
"link": "/pop/tag/emma-stone"
},
"pop_3297": {
"type": "terms",
"id": "pop_3297",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3297",
"found": true
},
"relationships": {},
"featImg": null,
"name": "jonah hill",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "jonah hill Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3297,
"slug": "jonah-hill",
"isLoading": false,
"link": "/pop/tag/jonah-hill"
},
"pop_3296": {
"type": "terms",
"id": "pop_3296",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3296",
"found": true
},
"relationships": {},
"featImg": null,
"name": "American Vandal",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "American Vandal Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3296,
"slug": "american-vandal",
"isLoading": false,
"link": "/pop/tag/american-vandal"
},
"pop_1041": {
"type": "terms",
"id": "pop_1041",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "1041",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Zeitgeist",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Zeitgeist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1042,
"slug": "zeitgeist",
"isLoading": false,
"link": "/pop/category/zeitgeist"
},
"pop_3292": {
"type": "terms",
"id": "pop_3292",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3292",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Norm Macdonald",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Norm Macdonald Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3292,
"slug": "norm-macdonald",
"isLoading": false,
"link": "/pop/tag/norm-macdonald"
},
"pop_3267": {
"type": "terms",
"id": "pop_3267",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3267",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Insatiable",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Insatiable Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3267,
"slug": "insatiable",
"isLoading": false,
"link": "/pop/tag/insatiable"
},
"pop_3240": {
"type": "terms",
"id": "pop_3240",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3240",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hannah Gadsby",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Hannah Gadsby Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3240,
"slug": "hannah-gadsby",
"isLoading": false,
"link": "/pop/tag/hannah-gadsby"
},
"pop_709": {
"type": "terms",
"id": "pop_709",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "709",
"found": true
},
"relationships": {},
"featImg": null,
"name": "cnn",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "cnn Archives | KQED Arts",
"ogDescription": null
},
"ttid": 710,
"slug": "cnn",
"isLoading": false,
"link": "/pop/tag/cnn"
},
"pop_1357": {
"type": "terms",
"id": "pop_1357",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "1357",
"found": true
},
"relationships": {},
"featImg": null,
"name": "W. Kamau Bell",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "W. Kamau Bell Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1359,
"slug": "w-kamau-bell",
"isLoading": false,
"link": "/pop/tag/w-kamau-bell"
},
"pop_3057": {
"type": "terms",
"id": "pop_3057",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3057",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy Central",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Central Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3057,
"slug": "comedy-central",
"isLoading": false,
"link": "/pop/tag/comedy-central"
},
"pop_3147": {
"type": "terms",
"id": "pop_3147",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3147",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Queer Eye",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Queer Eye Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3147,
"slug": "queer-eye",
"isLoading": false,
"link": "/pop/tag/queer-eye"
},
"pop_3221": {
"type": "terms",
"id": "pop_3221",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "3221",
"found": true
},
"relationships": {},
"featImg": null,
"name": "13 Reasons Why",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "13 Reasons Why Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3221,
"slug": "13-reasons-why",
"isLoading": false,
"link": "/pop/tag/13-reasons-why"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
