'Toy Story 4': Woody And The Gang Deal With... A Fork's Existential Crisis?
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To put it another way: After three \u003cem>Toy Story\u003c/em> movies, do we really need a fourth?\u003c/p>\n\u003cp>The director, Josh Cooley, and the writers, Andrew Stanton and Stephany Folsom, seem to have wrestled hard with that question, and they've come up with an entertaining if not entirely satisfying answer. \u003cem>Toy Story 4 \u003c/em>is as funny and dazzling as you'd expect from a Pixar entertainment, but it's also a more ungainly piece of storytelling than its predecessors: The humor is coarser around the edges and the plot takes wild, audacious leaps that don't always pay off.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JbdspP_tU6M\u003c/p>\n\u003cp>As the movie opens, Sheriff Woody (voiced again by \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a>) is in the rare position of no longer being the favorite toy in the bedroom. He's aged into an avuncular figure, concerned with making sure that he and his friends are there for their owner, Bonnie, when she needs them. But one day Bonnie comes home from kindergarten with a creature she made herself out of a plastic eating utensil, a pipe cleaner and two googly eyes. His name is Forky, and Bonnie's love has brought him to life.\u003c/p>\n\u003cp>But Forky, voiced with neurotic terror by \u003ca href=\"https://www.npr.org/2016/06/22/483064148/theres-a-reason-why-i-play-anxious-characters-says-veep-actor-tony-hale\">Tony Hale\u003c/a>, sees himself not as a toy but as a piece of trash, which is why he keeps trying to hurl himself into the nearest wastebasket. As a mini-Frankenstein with suicidal urges, Forky represents the kind of existential conundrum that future dissertations are made of; perhaps only Pixar could make a children's movie that leaves you pondering the origins of the soul and the nature of free will. Still, for the first time in a \u003cem>Toy Story\u003c/em> picture, I found myself resisting parts of the premise.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Forky grows on you as a character, but his role is mainly to enable Woody's reckless heroism, which is starting to look a lot like narcissism. When Bonnie brings her toys along on a family road trip, Forky gets lost, and Woody sets out to track him down. He finds him, but then they wind up in an antique shop where Woody spies something that reminds him of his old friend, the shepherdess Bo Peep, whom he hasn't seen in years. That leads them to a doll named Gabby Gabby, voiced by Christina Hendricks with a sweetness that seems a little too good to be true.\u003c/p>\n\u003cp>Gabby Gabby has her own twisted plans for Woody and Forky. She might seem like the latest version of a familiar villain, the abandoned toy out for revenge. Happily, she turns out to be a more complicated and sympathetic figure than that. But the movie's most richly layered character is Bo Peep, who was given away by her kid years ago and now spends her days with other renegade toys on public playgrounds. Don't be fooled by that porcelain delicacy: Bo Peep, voiced by Annie Potts, has been toughened by her years off the grid, and it's bracing to see her rebuke Woody, with his sentimental belief that every toy needs a child's love to know its worth.\u003c/p>\n\u003cp>Naturally, Bo Peep will still help Woody and Forky find their way back to Buzz Lightyear and the others. Along the way we meet a lot of new toy characters, not all of them successful. If you like Canada jokes, you'll like Keanu Reeves' performance as a posturing motorcycle stunt rider named Duke Caboom. As for Ducky and Bunny, a pair of plush toys, they were obnoxious enough to wear down even my fondness for the actors \u003ca href=\"https://www.npr.org/2013/11/20/246311451/for-key-and-peele-biracial-roots-bestow-special-comedic-power\">Keegan-Michael Key and Jordan Peele\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Pixar being the well-oiled entertainment machine that it is, the disparate parts of \u003cem>Toy Story 4\u003c/em> eventually come together in smooth, even wizardly fashion. Long after the contrived and misfired bits have faded, the brilliantly visualized action sequences and the pinpricks of emotion stay with you. Still, bidding farewell to these characters for the fourth time, I couldn't help but hope it would be the last, that the filmmakers would leave well enough alone. With all due affection for these movies and their astonishing quarter-century run, Woody isn't the only one having trouble letting go.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=To+Infinity+And+...+Be+Done%3A+After+4+Films%2C+Have+We+Finally+Outgrown+%27Toy+Story%27%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003cem>Toy Story \u003c/em>movies are about the secret lives of dolls and action figures that find their deepest fulfillment in a child's embrace. But they're really about what it means to be human: the joys of love and friendship and the pains of rejection and loss. But even more than the earlier films, \u003cem>Toy Story 4\u003c/em> feels haunted by the idea of impermanence. What happens when we outgrow something we once cherished? To put it another way: After three \u003cem>Toy Story\u003c/em> movies, do we really need a fourth?\u003c/p>\n\u003cp>The director, Josh Cooley, and the writers, Andrew Stanton and Stephany Folsom, seem to have wrestled hard with that question, and they've come up with an entertaining if not entirely satisfying answer. \u003cem>Toy Story 4 \u003c/em>is as funny and dazzling as you'd expect from a Pixar entertainment, but it's also a more ungainly piece of storytelling than its predecessors: The humor is coarser around the edges and the plot takes wild, audacious leaps that don't always pay off.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JbdspP_tU6M'\n title='//www.youtube.com/embed/JbdspP_tU6M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the movie opens, Sheriff Woody (voiced again by \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a>) is in the rare position of no longer being the favorite toy in the bedroom. He's aged into an avuncular figure, concerned with making sure that he and his friends are there for their owner, Bonnie, when she needs them. But one day Bonnie comes home from kindergarten with a creature she made herself out of a plastic eating utensil, a pipe cleaner and two googly eyes. His name is Forky, and Bonnie's love has brought him to life.\u003c/p>\n\u003cp>But Forky, voiced with neurotic terror by \u003ca href=\"https://www.npr.org/2016/06/22/483064148/theres-a-reason-why-i-play-anxious-characters-says-veep-actor-tony-hale\">Tony Hale\u003c/a>, sees himself not as a toy but as a piece of trash, which is why he keeps trying to hurl himself into the nearest wastebasket. As a mini-Frankenstein with suicidal urges, Forky represents the kind of existential conundrum that future dissertations are made of; perhaps only Pixar could make a children's movie that leaves you pondering the origins of the soul and the nature of free will. Still, for the first time in a \u003cem>Toy Story\u003c/em> picture, I found myself resisting parts of the premise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Forky grows on you as a character, but his role is mainly to enable Woody's reckless heroism, which is starting to look a lot like narcissism. When Bonnie brings her toys along on a family road trip, Forky gets lost, and Woody sets out to track him down. He finds him, but then they wind up in an antique shop where Woody spies something that reminds him of his old friend, the shepherdess Bo Peep, whom he hasn't seen in years. That leads them to a doll named Gabby Gabby, voiced by Christina Hendricks with a sweetness that seems a little too good to be true.\u003c/p>\n\u003cp>Gabby Gabby has her own twisted plans for Woody and Forky. She might seem like the latest version of a familiar villain, the abandoned toy out for revenge. Happily, she turns out to be a more complicated and sympathetic figure than that. But the movie's most richly layered character is Bo Peep, who was given away by her kid years ago and now spends her days with other renegade toys on public playgrounds. Don't be fooled by that porcelain delicacy: Bo Peep, voiced by Annie Potts, has been toughened by her years off the grid, and it's bracing to see her rebuke Woody, with his sentimental belief that every toy needs a child's love to know its worth.\u003c/p>\n\u003cp>Naturally, Bo Peep will still help Woody and Forky find their way back to Buzz Lightyear and the others. Along the way we meet a lot of new toy characters, not all of them successful. If you like Canada jokes, you'll like Keanu Reeves' performance as a posturing motorcycle stunt rider named Duke Caboom. As for Ducky and Bunny, a pair of plush toys, they were obnoxious enough to wear down even my fondness for the actors \u003ca href=\"https://www.npr.org/2013/11/20/246311451/for-key-and-peele-biracial-roots-bestow-special-comedic-power\">Keegan-Michael Key and Jordan Peele\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Pixar being the well-oiled entertainment machine that it is, the disparate parts of \u003cem>Toy Story 4\u003c/em> eventually come together in smooth, even wizardly fashion. Long after the contrived and misfired bits have faded, the brilliantly visualized action sequences and the pinpricks of emotion stay with you. Still, bidding farewell to these characters for the fourth time, I couldn't help but hope it would be the last, that the filmmakers would leave well enough alone. With all due affection for these movies and their astonishing quarter-century run, Woody isn't the only one having trouble letting go.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=To+Infinity+And+...+Be+Done%3A+After+4+Films%2C+Have+We+Finally+Outgrown+%27Toy+Story%27%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Are you an avid watcher of \u003cem>The Late Late Show\u003c/em>? Yeah, me neither, but I'm about to become one, now that James Corden (a.k.a. the childless baker from \u003cem>Into The Woods\u003c/em>) is at the helm, bringing a new vitality to the brand. In his debut episode, he managed to convince Tom Hanks not only to appear on the show, but to recreate all his films at breakneck speed. Hanks' arm-flailing Woody impression is too adorable for words. See it for yourself:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1ZWLWxpBv5g\u003c/p>\n\u003cp>Corden could have stopped there, but went the extra mile by getting Mariah to agree to ride shotgun in a normal person car and sing along to her own songs. The result is \u003ca href=\"https://www.youtube.com/watch?v=oe1wtkkt9-E\">#Beautiful\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z2iwQoKD6mg\u003c/p>\n\u003cp>\u003ca href=\"http://www.theatlantic.com/entertainment/archive/2015/03/james-corden-is-part-of-late-nights-new-wave-of-cheerfulness/388871/\">\u003cem>The Atlantic\u003c/em> is heralding\u003c/a> Corden's arrival to television as \"part of a new, cheerful generation of late night.\" Based on his first week, we're more than happy to have him!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-title-real/\" rel=\"attachment wp-att-1608\">\u003cimg class=\"aligncenter size-full wp-image-1608\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-title-real.jpeg\" alt=\"argo title real\" width=\"642\" height=\"398\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-title-real.jpeg 642w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-title-real-400x247.jpeg 400w\" sizes=\"(max-width: 642px) 100vw, 642px\">\u003c/a>Well fellow cinephiles, this could be 2006 all over again. Has it been seven years since (that \u003ca href=\"http://www.youtube.com/watch?v=tfQs7WbVse8\">train wreck\u003c/a> of a movie) \u003cem>Crash\u003c/em> beat out the elegant favorite \u003cem>Brokeback Mountain\u003c/em>? Each week up until about mid-January the Oscar race for Best Picture flip-flopped from movie to movie. Before \u003cem>Les Miserables\u003c/em> even hit the screen, it was hailed as the movie to beat and then everyone went to see it on Christmas and walked out of the theatre confused and pretty sure they could \u003ca href=\"http://www.cinemablend.com/new/Your-Consideration-Les-Miserables-Lost-Best-Picture-Moment-Russell-Crowe-Opened-His-Mouth-35824.html\">sing better\u003c/a> than Russell Crowe. Now \u003cem>Argo\u003c/em>, the Ben Affleck-director-political-suspense-thriller-based-on-a-true story is the front-runner that’s here to stay. In a race where the other eight nominated films have the honest qualities of a true winner, it could all end up in the hands of \u003cem>Argo\u003c/em>. Here are a few potential reasons why \u003cem>Argo\u003c/em> might end up taking home that little golden dude:\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-1-edit/\" rel=\"attachment wp-att-1597\">\u003cimg class=\"aligncenter size-full wp-image-1597\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-1-edit.jpeg\" alt=\"argo 1 edit\" width=\"600\" height=\"366\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-1-edit.jpeg 600w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-1-edit-400x244.jpeg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>1. Because it’s a bro’s bro.\u003c/strong>\u003cbr>\n“So, have you seen \u003cem>Argo\u003c/em> yet?” the frat dude says as he leans into her at the bar, his breath smelling of Red Bull and disdain. As if! \u003cem>Zero Dark Thirty\u003c/em> has quite the package: suspense, action, foreign intrigue, even torture, but what it’s lacking is, of course, a strong male lead like Ben Affleck. It’s a shame the strength and competence of \u003ca href=\"http://25.media.tumblr.com/tumblr_lxvwq8cKaT1qz9xvjo1_r4_500.gif\">Jessica Chastain\u003c/a>’s character Maya cannot compete with Affleck’s Tony Mendez, otherwise \u003cem>ZDT\u003c/em> would be a shoe-in for the boys of \u003ca href=\"http://1.bp.blogspot.com/_vY8I5HvOvk8/SZCgRYVhgvI/AAAAAAAACfQ/LaijRaIYR54/s320/revenge-of-the-nerds.jpg\">Alpha Beta\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-2/\" rel=\"attachment wp-att-1598\">\u003cimg class=\"aligncenter size-full wp-image-1598\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-2.jpeg\" alt=\"argo 2\" width=\"702\" height=\"435\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-2.jpeg 702w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-2-400x247.jpeg 400w\" sizes=\"(max-width: 702px) 100vw, 702px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>2. Because it’s like \u003cem>The DaVinci Code\u003c/em> the book version.\u003c/strong>\u003cbr>\nDisclaimer: I have never read \u003cem>The DaVinci Code\u003c/em> nor have I seen the movie. However, I have paged through the book and what I do know is that it is compiled of very short, easy-to-read chapters that leave the reader wanting more. It is unlikely a film like \u003cem>Amour\u003c/em> can hold a candle. In \u003cem>Amour,\u003c/em> we glide through Georges and Anne’s home listlessly unearthing layers of wood and light: lives lived and love had. \u003cem>Argo\u003c/em> is the pleasure principle in its finest form, like a great pop song or the Kardashians (I still think \u003ca href=\"http://25.media.tumblr.com/tumblr_lv2zigvVNX1qzb62zo1_500.gif\">Kourtney\u003c/a> and Khloe have yet to really \u003cem>take\u003c/em> Miami); you want bubblegum and it delivers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-3-2/\" rel=\"attachment wp-att-1600\">\u003cimg class=\"aligncenter size-full wp-image-1600\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-31.jpeg\" alt=\"argo 3\" width=\"600\" height=\"348\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-31.jpeg 600w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-31-400x232.jpeg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>3. Because it’s Hollywood talking about Hollywood.\u003c/strong>\u003cbr>\n\u003cem>The Artist \u003c/em>took the award last year and deservedly so. The Academy might be on a streak. In \u003cem>Argo, \u003c/em>Affleck has made a movie within a movie. It’s all very meta but done in a very conventional manner. Instead of showing us what Hollywood can do, we are given \u003cem>Argo\u003c/em>, a movie showing us what Hollywood already does. \u003cem>Life of Pi\u003c/em> would be the perfect example of what it’s like to take cinema to an ultra-cinematic level. The shots are breathtaking: aerial views that \u003ca href=\"http://cdn1.screenrant.com/wp-content/uploads/Life-of-Pi-Ending-Explained.jpg\">isolate the ship \u003c/a>from our main character and a horizon where it is impossible to distinguish where the sky ends and the water begins. \u003cem>Life of Pi\u003c/em> is a truly lavish cinematic experience. The closest we get in \u003cem>Argo\u003c/em> is when scenes from the movie are set side-by-side with actual archival footage as though Affleck is saying: Look at how perfectly I recreated this, not a hair out of place!\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/django-real/\" rel=\"attachment wp-att-1609\">\u003cimg class=\"aligncenter size-full wp-image-1609\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/django-real.jpeg\" alt=\"django real\" width=\"650\" height=\"437\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/django-real.jpeg 650w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/django-real-400x268.jpeg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>4. Because it’s already nabbed the Golden Globe and the BAFTA.\u003c/strong>\u003cbr>\nThe past four years the \u003ca href=\"https://www.youtube.com/watch?v=nf8uDTUVx3Y\">BAFTA\u003c/a> has predicted the winner but the past four years there have been arguably clear winners. The Golden Globes are notorious for surprises and lucky for last year’s \u003cem>The Descendants\u003c/em>, the Globes split their best films into comedy and drama categories. But let’s jump back to another one of the \u003ca href=\"http://www.youtube.com/watch?v=3VKK2mskvtg\">biggest snubs\u003c/a> of Oscar history, \u003cem>Forrest Gump\u003c/em> winning over \u003cem>Pulp Fiction\u003c/em>. Tom Hanks and Ben Affleck are basically \u003ca href=\"http://25.media.tumblr.com/tumblr_lfan3psl611qb6180o1_500.jpg\">the same person\u003c/a>, handsome and likeable. Quentin did not win with \u003cem>Pulp Fiction\u003c/em> and will not win for \u003cem>Django Unchained\u003c/em>: too much witty dialogue, too much violence, too much outstanding acting.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-5/\" rel=\"attachment wp-att-1602\">\u003cimg class=\"aligncenter size-full wp-image-1602\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-5.jpeg\" alt=\"argo 5\" width=\"600\" height=\"401\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-5.jpeg 600w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-5-400x267.jpeg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>5. Because Ben Affleck somehow turned into The Little Engine That Could.\u003c/strong>\u003cbr>\nWe all remember when he and Matt Damon jumped on the stage way back in 1997 and thanked Southie or whatever. It was cute and we were happy and they were Hollywood nobodies that became \u003ca href=\"http://www.youtube.com/watch?v=d8RIS5GJqAg\">Hollywood somebodies\u003c/a> at that very moment. But that was like thirteen years ago and now Affleck has been denied a Best Director nomination and the world is in mourning. (I will not mention Kathryn Bigelow here.) Turn to \u003cem>Beasts of the Southern Wild\u003c/em>, note the modest budget, the non-actor actors, the no-name filmmakers, the huge courage.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-6/\" rel=\"attachment wp-att-1603\">\u003cimg class=\"aligncenter size-full wp-image-1603\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-6.jpeg\" alt=\"argo 6\" width=\"620\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-6.jpeg 620w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-6-400x258.jpeg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>6. Because it tackles a declassified government secret and that’s exciting.\u003c/strong>\u003cbr>\nWhat a caper! One of the most exciting things about \u003cem>Argo\u003c/em> is that while you’re watching it, you feel like you’re privy to this huge secret that the rest of world (in the movie) doesn’t know about. It was a secret and now it’s \u003ca href=\"http://www.slate.com/blogs/browbeat/2012/10/12/argo_true_story_the_facts_and_fiction_behind_the_ben_affleck_movie.html\">talked about\u003c/a> but only after government permission. That’s not going to bode well for \u003cem>Silver Linings Playbook\u003c/em> where they deal with the still very taboo topic of mental illness in a charming and funny way. And not since \u003ca href=\"http://www.youtube.com/watch?v=OpIYz8tfGjY\">\u003cem>Annie Hall\u003c/em>\u003c/a> has a true and nervous comedy won Best Picture and it has since become epic, in a subtle and graceful way. Perhaps they are hoping the same for \u003cem>Argo\u003c/em>, but like epic in more of a humdrum sort of way.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-7/\" rel=\"attachment wp-att-1604\">\u003cimg class=\"aligncenter size-full wp-image-1604\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-7.jpeg\" alt=\"argo 7\" width=\"743\" height=\"387\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-7.jpeg 743w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-7-400x208.jpeg 400w\" sizes=\"(max-width: 743px) 100vw, 743px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>7. Because it makes you proud to be an American.\u003c/strong>\u003cbr>\n“This is the best bad idea we have, sir,” Tony Mendez tells his superior in \u003cem>Argo. \u003c/em>To disguise the hostages as filmmakers scouting locations for an upcoming sci-fi flick might just be crazy enough to work. It’s an out-of-the-box scheme that leaves you feeling happy you live in a country whose government allows for such creativity. The past two years have been somewhat Euro-centric with \u003cem>The King’s Speech\u003c/em> and \u003cem>The Artist \u003c/em>taking home the top prize, it’s about time the Academy picks a good-ole-fashioned stars-and-stripes-waving \u003ca href=\"http://a57.foxnews.com/global.fncstatic.com/static/managed/img/Entertainment/0/371/Armageddon.JPG\">piece of our history\u003c/a>. But what about \u003cem>Lincoln\u003c/em> you ask? Perhaps it is too well known a story or perhaps the plan is to dole out awards to Daniel Day Lewis, Stephen Spielberg, and Tony Kushner, leaving room for \u003cem>Argo\u003c/em>, cozy American \u003cem>Argo\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-8/\" rel=\"attachment wp-att-1605\">\u003cimg class=\"aligncenter size-full wp-image-1605\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-8.jpeg\" alt=\"argo 8\" width=\"650\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-8.jpeg 650w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-8-400x276.jpeg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>8. Because its flame is still burning hot.\u003c/strong>\u003cbr>\nThere’s no denying \u003cem>Argo’s\u003c/em> momentum. \u003cem>Les Miserables \u003c/em>was just as hot to trot (they’re singing live! \u003ca href=\"http://www.youtube.com/watch?feature=player_embedded&v=y4yxsRRnvkE\">Anne Hathaway\u003c/a> is brilliant!) in December but fizzled out by January. It’s a classic case of backlash and then backlash to the backlash and so on and so forth. Meanwhile \u003cem>Argo\u003c/em> quietly held its ground. No one has had very many issues with the actual content of the film, where movies like \u003cem>ZDT\u003c/em> and \u003cem>Django\u003c/em> made the news on a daily basis. Perhaps controversy will get you attention but won’t win you awards.\u003c/p>\n\u003cp>*\u003c/p>\n\u003cp>Look, \u003cem>Argo\u003c/em> is the huge favorite and I’ve accepted that. I’m not saying I will denounce the Oscars or award shows if \u003cem>Argo\u003c/em> wins. I mean, I’ll probably throw my hands in the air and give a big eye roll while shoving hummus into my mouth. But I suppose what’s oddly great about the Oscars is that no one was expecting \u003cem>Crash \u003c/em>to win in 2006, and it did.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "In a race where the other eight nominated films have the honest qualities of a true winner, the Academy Award for Best Picture will probably go to Argo.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-title-real/\" rel=\"attachment wp-att-1608\">\u003cimg class=\"aligncenter size-full wp-image-1608\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-title-real.jpeg\" alt=\"argo title real\" width=\"642\" height=\"398\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-title-real.jpeg 642w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-title-real-400x247.jpeg 400w\" sizes=\"(max-width: 642px) 100vw, 642px\">\u003c/a>Well fellow cinephiles, this could be 2006 all over again. Has it been seven years since (that \u003ca href=\"http://www.youtube.com/watch?v=tfQs7WbVse8\">train wreck\u003c/a> of a movie) \u003cem>Crash\u003c/em> beat out the elegant favorite \u003cem>Brokeback Mountain\u003c/em>? Each week up until about mid-January the Oscar race for Best Picture flip-flopped from movie to movie. Before \u003cem>Les Miserables\u003c/em> even hit the screen, it was hailed as the movie to beat and then everyone went to see it on Christmas and walked out of the theatre confused and pretty sure they could \u003ca href=\"http://www.cinemablend.com/new/Your-Consideration-Les-Miserables-Lost-Best-Picture-Moment-Russell-Crowe-Opened-His-Mouth-35824.html\">sing better\u003c/a> than Russell Crowe. Now \u003cem>Argo\u003c/em>, the Ben Affleck-director-political-suspense-thriller-based-on-a-true story is the front-runner that’s here to stay. In a race where the other eight nominated films have the honest qualities of a true winner, it could all end up in the hands of \u003cem>Argo\u003c/em>. Here are a few potential reasons why \u003cem>Argo\u003c/em> might end up taking home that little golden dude:\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-1-edit/\" rel=\"attachment wp-att-1597\">\u003cimg class=\"aligncenter size-full wp-image-1597\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-1-edit.jpeg\" alt=\"argo 1 edit\" width=\"600\" height=\"366\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-1-edit.jpeg 600w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-1-edit-400x244.jpeg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>1. Because it’s a bro’s bro.\u003c/strong>\u003cbr>\n“So, have you seen \u003cem>Argo\u003c/em> yet?” the frat dude says as he leans into her at the bar, his breath smelling of Red Bull and disdain. As if! \u003cem>Zero Dark Thirty\u003c/em> has quite the package: suspense, action, foreign intrigue, even torture, but what it’s lacking is, of course, a strong male lead like Ben Affleck. It’s a shame the strength and competence of \u003ca href=\"http://25.media.tumblr.com/tumblr_lxvwq8cKaT1qz9xvjo1_r4_500.gif\">Jessica Chastain\u003c/a>’s character Maya cannot compete with Affleck’s Tony Mendez, otherwise \u003cem>ZDT\u003c/em> would be a shoe-in for the boys of \u003ca href=\"http://1.bp.blogspot.com/_vY8I5HvOvk8/SZCgRYVhgvI/AAAAAAAACfQ/LaijRaIYR54/s320/revenge-of-the-nerds.jpg\">Alpha Beta\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-2/\" rel=\"attachment wp-att-1598\">\u003cimg class=\"aligncenter size-full wp-image-1598\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-2.jpeg\" alt=\"argo 2\" width=\"702\" height=\"435\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-2.jpeg 702w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-2-400x247.jpeg 400w\" sizes=\"(max-width: 702px) 100vw, 702px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>2. Because it’s like \u003cem>The DaVinci Code\u003c/em> the book version.\u003c/strong>\u003cbr>\nDisclaimer: I have never read \u003cem>The DaVinci Code\u003c/em> nor have I seen the movie. However, I have paged through the book and what I do know is that it is compiled of very short, easy-to-read chapters that leave the reader wanting more. It is unlikely a film like \u003cem>Amour\u003c/em> can hold a candle. In \u003cem>Amour,\u003c/em> we glide through Georges and Anne’s home listlessly unearthing layers of wood and light: lives lived and love had. \u003cem>Argo\u003c/em> is the pleasure principle in its finest form, like a great pop song or the Kardashians (I still think \u003ca href=\"http://25.media.tumblr.com/tumblr_lv2zigvVNX1qzb62zo1_500.gif\">Kourtney\u003c/a> and Khloe have yet to really \u003cem>take\u003c/em> Miami); you want bubblegum and it delivers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-3-2/\" rel=\"attachment wp-att-1600\">\u003cimg class=\"aligncenter size-full wp-image-1600\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-31.jpeg\" alt=\"argo 3\" width=\"600\" height=\"348\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-31.jpeg 600w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-31-400x232.jpeg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>3. Because it’s Hollywood talking about Hollywood.\u003c/strong>\u003cbr>\n\u003cem>The Artist \u003c/em>took the award last year and deservedly so. The Academy might be on a streak. In \u003cem>Argo, \u003c/em>Affleck has made a movie within a movie. It’s all very meta but done in a very conventional manner. Instead of showing us what Hollywood can do, we are given \u003cem>Argo\u003c/em>, a movie showing us what Hollywood already does. \u003cem>Life of Pi\u003c/em> would be the perfect example of what it’s like to take cinema to an ultra-cinematic level. The shots are breathtaking: aerial views that \u003ca href=\"http://cdn1.screenrant.com/wp-content/uploads/Life-of-Pi-Ending-Explained.jpg\">isolate the ship \u003c/a>from our main character and a horizon where it is impossible to distinguish where the sky ends and the water begins. \u003cem>Life of Pi\u003c/em> is a truly lavish cinematic experience. The closest we get in \u003cem>Argo\u003c/em> is when scenes from the movie are set side-by-side with actual archival footage as though Affleck is saying: Look at how perfectly I recreated this, not a hair out of place!\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/django-real/\" rel=\"attachment wp-att-1609\">\u003cimg class=\"aligncenter size-full wp-image-1609\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/django-real.jpeg\" alt=\"django real\" width=\"650\" height=\"437\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/django-real.jpeg 650w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/django-real-400x268.jpeg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>4. Because it’s already nabbed the Golden Globe and the BAFTA.\u003c/strong>\u003cbr>\nThe past four years the \u003ca href=\"https://www.youtube.com/watch?v=nf8uDTUVx3Y\">BAFTA\u003c/a> has predicted the winner but the past four years there have been arguably clear winners. The Golden Globes are notorious for surprises and lucky for last year’s \u003cem>The Descendants\u003c/em>, the Globes split their best films into comedy and drama categories. But let’s jump back to another one of the \u003ca href=\"http://www.youtube.com/watch?v=3VKK2mskvtg\">biggest snubs\u003c/a> of Oscar history, \u003cem>Forrest Gump\u003c/em> winning over \u003cem>Pulp Fiction\u003c/em>. Tom Hanks and Ben Affleck are basically \u003ca href=\"http://25.media.tumblr.com/tumblr_lfan3psl611qb6180o1_500.jpg\">the same person\u003c/a>, handsome and likeable. Quentin did not win with \u003cem>Pulp Fiction\u003c/em> and will not win for \u003cem>Django Unchained\u003c/em>: too much witty dialogue, too much violence, too much outstanding acting.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-5/\" rel=\"attachment wp-att-1602\">\u003cimg class=\"aligncenter size-full wp-image-1602\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-5.jpeg\" alt=\"argo 5\" width=\"600\" height=\"401\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-5.jpeg 600w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-5-400x267.jpeg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>5. Because Ben Affleck somehow turned into The Little Engine That Could.\u003c/strong>\u003cbr>\nWe all remember when he and Matt Damon jumped on the stage way back in 1997 and thanked Southie or whatever. It was cute and we were happy and they were Hollywood nobodies that became \u003ca href=\"http://www.youtube.com/watch?v=d8RIS5GJqAg\">Hollywood somebodies\u003c/a> at that very moment. But that was like thirteen years ago and now Affleck has been denied a Best Director nomination and the world is in mourning. (I will not mention Kathryn Bigelow here.) Turn to \u003cem>Beasts of the Southern Wild\u003c/em>, note the modest budget, the non-actor actors, the no-name filmmakers, the huge courage.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-6/\" rel=\"attachment wp-att-1603\">\u003cimg class=\"aligncenter size-full wp-image-1603\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-6.jpeg\" alt=\"argo 6\" width=\"620\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-6.jpeg 620w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-6-400x258.jpeg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>6. Because it tackles a declassified government secret and that’s exciting.\u003c/strong>\u003cbr>\nWhat a caper! One of the most exciting things about \u003cem>Argo\u003c/em> is that while you’re watching it, you feel like you’re privy to this huge secret that the rest of world (in the movie) doesn’t know about. It was a secret and now it’s \u003ca href=\"http://www.slate.com/blogs/browbeat/2012/10/12/argo_true_story_the_facts_and_fiction_behind_the_ben_affleck_movie.html\">talked about\u003c/a> but only after government permission. That’s not going to bode well for \u003cem>Silver Linings Playbook\u003c/em> where they deal with the still very taboo topic of mental illness in a charming and funny way. And not since \u003ca href=\"http://www.youtube.com/watch?v=OpIYz8tfGjY\">\u003cem>Annie Hall\u003c/em>\u003c/a> has a true and nervous comedy won Best Picture and it has since become epic, in a subtle and graceful way. Perhaps they are hoping the same for \u003cem>Argo\u003c/em>, but like epic in more of a humdrum sort of way.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-7/\" rel=\"attachment wp-att-1604\">\u003cimg class=\"aligncenter size-full wp-image-1604\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-7.jpeg\" alt=\"argo 7\" width=\"743\" height=\"387\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-7.jpeg 743w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-7-400x208.jpeg 400w\" sizes=\"(max-width: 743px) 100vw, 743px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>7. Because it makes you proud to be an American.\u003c/strong>\u003cbr>\n“This is the best bad idea we have, sir,” Tony Mendez tells his superior in \u003cem>Argo. \u003c/em>To disguise the hostages as filmmakers scouting locations for an upcoming sci-fi flick might just be crazy enough to work. It’s an out-of-the-box scheme that leaves you feeling happy you live in a country whose government allows for such creativity. The past two years have been somewhat Euro-centric with \u003cem>The King’s Speech\u003c/em> and \u003cem>The Artist \u003c/em>taking home the top prize, it’s about time the Academy picks a good-ole-fashioned stars-and-stripes-waving \u003ca href=\"http://a57.foxnews.com/global.fncstatic.com/static/managed/img/Entertainment/0/371/Armageddon.JPG\">piece of our history\u003c/a>. But what about \u003cem>Lincoln\u003c/em> you ask? Perhaps it is too well known a story or perhaps the plan is to dole out awards to Daniel Day Lewis, Stephen Spielberg, and Tony Kushner, leaving room for \u003cem>Argo\u003c/em>, cozy American \u003cem>Argo\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/20/why-argo-might-win-an-academy-award-for-all-the-wrong-reasons/argo-8/\" rel=\"attachment wp-att-1605\">\u003cimg class=\"aligncenter size-full wp-image-1605\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/argo-8.jpeg\" alt=\"argo 8\" width=\"650\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-8.jpeg 650w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/argo-8-400x276.jpeg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>8. Because its flame is still burning hot.\u003c/strong>\u003cbr>\nThere’s no denying \u003cem>Argo’s\u003c/em> momentum. \u003cem>Les Miserables \u003c/em>was just as hot to trot (they’re singing live! \u003ca href=\"http://www.youtube.com/watch?feature=player_embedded&v=y4yxsRRnvkE\">Anne Hathaway\u003c/a> is brilliant!) in December but fizzled out by January. It’s a classic case of backlash and then backlash to the backlash and so on and so forth. Meanwhile \u003cem>Argo\u003c/em> quietly held its ground. No one has had very many issues with the actual content of the film, where movies like \u003cem>ZDT\u003c/em> and \u003cem>Django\u003c/em> made the news on a daily basis. Perhaps controversy will get you attention but won’t win you awards.\u003c/p>\n\u003cp>*\u003c/p>\n\u003cp>Look, \u003cem>Argo\u003c/em> is the huge favorite and I’ve accepted that. I’m not saying I will denounce the Oscars or award shows if \u003cem>Argo\u003c/em> wins. I mean, I’ll probably throw my hands in the air and give a big eye roll while shoving hummus into my mouth. But I suppose what’s oddly great about the Oscars is that no one was expecting \u003cem>Crash \u003c/em>to win in 2006, and it did.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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. ",
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"marketplace": {
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"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.",
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},
"mindshift": {
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"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>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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?",
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"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",
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"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"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.",
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"politicalbreakdown": {
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"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",
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"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/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"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",
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},
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},
"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.",
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