The best the Bay Area has to offer, from the writers and editors of KQED Arts & Culture.
Critics’ PicksCritics’ Picks
‘The Housemaid’ Is a Twisty Horror-Thriller With Nudity and Empowerment
‘Avatar: Fire and Ash’ Rewards Fans With 195 Minutes of Wonder and War
Manic ‘Marty Supreme’ Smashes the American Dream
Comedian Kaytlin Bailey Revives the Forgotten Histories of Sex Workers
Cellist Mia Pixley Flourishes in Darkness
‘The Sea Captain’s Wife’ Brings a 19th-Century San Francisco Legend to Life
This San José Pop-Up Bakery Sells 18 Different Varieties of Egg Tarts
Helen Mirren Leads a Distinguished Cast in Touching Family Drama, ‘Goodbye June’
'Can I Get A Witness?' Open Mic Creates Community Through Commentary
Drag Story Hour Celebrates 10 Years at San Francisco Public Library
Player sponsored by
window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_13985021": {
"type": "attachments",
"id": "arts_13985021",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985021",
"found": true
},
"title": "the-housemaid_first-look_gallery_6_1920x1280",
"publishDate": 1766084484,
"status": "inherit",
"parent": 13985020,
"modified": 1766084581,
"caption": "Sydney Sweeney and Amanda Seyfried star in ‘The Housemaid.’",
"credit": "Lionsgate",
"altTag": "A woman cleaning a bathroom sink looks at another woman in the mirror reflection.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_6_1920x1280-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_6_1920x1280-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_6_1920x1280-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_6_1920x1280-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_6_1920x1280-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_6_1920x1280-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_6_1920x1280.jpg",
"width": 1920,
"height": 1280
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13985011": {
"type": "attachments",
"id": "arts_13985011",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985011",
"found": true
},
"title": "g_avatar_avatarfireandash_still_01_d8bd1d78",
"publishDate": 1766011305,
"status": "inherit",
"parent": 13985007,
"modified": 1766011974,
"caption": "Oona Chaplin's Varang in a scene from 'Avatar: Fire and Ash,' the third — and longest — installment in James Cameron's series.",
"credit": "20th Century Studios",
"altTag": "alien character with headdress raises hand over fire",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_avatar_avatarfireandash_still_01_d8bd1d78-160x90.jpeg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_avatar_avatarfireandash_still_01_d8bd1d78-768x431.jpeg",
"width": 768,
"height": 431,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_avatar_avatarfireandash_still_01_d8bd1d78-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_avatar_avatarfireandash_still_01_d8bd1d78-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_avatar_avatarfireandash_still_01_d8bd1d78-1200x675.jpeg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_avatar_avatarfireandash_still_01_d8bd1d78.jpeg",
"width": 1300,
"height": 730
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13985001": {
"type": "attachments",
"id": "arts_13985001",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985001",
"found": true
},
"title": "MartySupremeCover_2000",
"publishDate": 1765995295,
"status": "inherit",
"parent": 13984991,
"modified": 1765995355,
"caption": "Timothée Chalamet as Marty Mauser in 'Marty Supreme.'",
"credit": "A24",
"altTag": "man points with hand holding table tennis paddle, blurry crowd behind",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeCover_2000-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeCover_2000-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeCover_2000-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeCover_2000-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeCover_2000-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeCover_2000-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeCover_2000.jpg",
"width": 2000,
"height": 1333
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13984967": {
"type": "attachments",
"id": "arts_13984967",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13984967",
"found": true
},
"title": "kaytlinbailey-Sriya-Sarkar2",
"publishDate": 1765910952,
"status": "inherit",
"parent": 13984961,
"modified": 1765911105,
"caption": "Kaytlin Bailey's one-woman show combines comedy and sex worker history.",
"credit": "Sriya Sarkar",
"altTag": "A woman holds a microphone in front of a projected image of a Renaissance painting.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/kaytlinbailey-Sriya-Sarkar2-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/kaytlinbailey-Sriya-Sarkar2-768x513.jpg",
"width": 768,
"height": 513,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/kaytlinbailey-Sriya-Sarkar2-1536x1026.jpg",
"width": 1536,
"height": 1026,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/kaytlinbailey-Sriya-Sarkar2-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/kaytlinbailey-Sriya-Sarkar2-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/kaytlinbailey-Sriya-Sarkar2-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/kaytlinbailey-Sriya-Sarkar2.jpg",
"width": 2000,
"height": 1336
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13984300": {
"type": "attachments",
"id": "arts_13984300",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13984300",
"found": true
},
"title": "Mia Pixley",
"publishDate": 1764696515,
"status": "inherit",
"parent": 13984267,
"modified": 1764696640,
"caption": "Cellist and jazz vocalist Mia Pixley. ",
"credit": "ASTU",
"altTag": "A woman sits and poses for the camera while holding a cello horizontally in her lap.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-1536x1025.jpg",
"width": 1536,
"height": 1025,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1.jpg",
"width": 2000,
"height": 1334
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13984418": {
"type": "attachments",
"id": "arts_13984418",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13984418",
"found": true
},
"title": "sea captain's wife",
"publishDate": 1764790794,
"status": "inherit",
"parent": 13984414,
"modified": 1764790890,
"caption": "‘The Sea Captain's Wife: A True Story of Mutiny, Love, and Adventure at the Bottom of the World’ by Tilar J. Mazzeo.",
"credit": "St. Martin's Press.",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife-1-160x101.png",
"width": 160,
"height": 101,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife-1-768x485.png",
"width": 768,
"height": 485,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife-1-1536x970.png",
"width": 1536,
"height": 970,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife-1-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife-1-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife-1-1200x675.png",
"width": 1200,
"height": 675,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife-1.png",
"width": 2000,
"height": 1263
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13984905": {
"type": "attachments",
"id": "arts_13984905",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13984905",
"found": true
},
"title": "Honey Garlic, Blueberry, Yuzu, Banana, and Pistachio Egg Tarts",
"publishDate": 1765498114,
"status": "inherit",
"parent": 13984898,
"modified": 1765498337,
"caption": "A sampling of A&M Patisserie's many different egg tart variations. Pictured here, clockwise from the top left: honey garlic, blueberry, yuzu, pistachio and banana.",
"credit": "Octavio Peña",
"altTag": "Hands holding several different varieties of egg tarts, topped variously with banana slices, pistachios, blueberries and more.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Honey-Garlic-Blueberry-Yuzu-Banana-and-Pistachio-Egg-Tarts-160x74.jpg",
"width": 160,
"height": 74,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Honey-Garlic-Blueberry-Yuzu-Banana-and-Pistachio-Egg-Tarts-768x355.jpg",
"width": 768,
"height": 355,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Honey-Garlic-Blueberry-Yuzu-Banana-and-Pistachio-Egg-Tarts-1536x710.jpg",
"width": 1536,
"height": 710,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Honey-Garlic-Blueberry-Yuzu-Banana-and-Pistachio-Egg-Tarts-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Honey-Garlic-Blueberry-Yuzu-Banana-and-Pistachio-Egg-Tarts-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Honey-Garlic-Blueberry-Yuzu-Banana-and-Pistachio-Egg-Tarts-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Honey-Garlic-Blueberry-Yuzu-Banana-and-Pistachio-Egg-Tarts.jpg",
"width": 2000,
"height": 924
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13984872": {
"type": "attachments",
"id": "arts_13984872",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13984872",
"found": true
},
"title": "goodbye june",
"publishDate": 1765492131,
"status": "inherit",
"parent": 13984868,
"modified": 1765492292,
"caption": "(L-R) Andrea Riseborough, Johnny Flynn, Kate Winslet and Timothy Spall star in ‘Goodbye June.’ ",
"credit": "Netflix via AP",
"altTag": "Two middle aged white women sit either side of a middle aged white man on a couch in an office. To their left is an older man sitting in a chair. Their facial expressions are a mixture of concerned and stoic.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/goodbye-june-160x104.png",
"width": 160,
"height": 104,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/goodbye-june-768x501.png",
"width": 768,
"height": 501,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/goodbye-june-1536x1002.png",
"width": 1536,
"height": 1002,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/goodbye-june-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/goodbye-june-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/goodbye-june-1200x675.png",
"width": 1200,
"height": 675,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/goodbye-june.png",
"width": 2000,
"height": 1305
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13984796": {
"type": "attachments",
"id": "arts_13984796",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13984796",
"found": true
},
"title": "Deborah M.",
"publishDate": 1765482183,
"status": "inherit",
"parent": 13984739,
"modified": 1765489582,
"caption": "Poet Deborah Marie has performed all around Northern California. Now she hosts her own event series in Oakland called Can I Get A Witness?",
"credit": "Lara Kaur",
"altTag": "An African-American woman poses for a photo in front of a pink background, she's wearing a white and yellow top with a khaki skirt.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-M.--scaled-e1765482649325-160x154.jpg",
"width": 160,
"height": 154,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-M.--scaled-e1765482649325-768x737.jpg",
"width": 768,
"height": 737,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-M.--scaled-e1765482649325-1536x1474.jpg",
"width": 1536,
"height": 1474,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-M.--1365x2048.jpg",
"width": 1365,
"height": 2048,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-M.--scaled-e1765482649325-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-M.--scaled-e1765482649325-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-M.--scaled-e1765482649325-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-M.--scaled-e1765482649325.jpg",
"width": 1707,
"height": 1638
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13984853": {
"type": "attachments",
"id": "arts_13984853",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13984853",
"found": true
},
"title": "53rd Annual San Francisco Pride Parade And Celebration",
"publishDate": 1765489147,
"status": "inherit",
"parent": 13984850,
"modified": 1765489202,
"caption": "Per Sia reads to the audience during the 53rd Annual San Francisco Pride Parade and Celebration at San Francisco Civic Center on June 25, 2023 in San Francisco, California.",
"credit": "Miikka Skaffari/WireImage",
"altTag": "A drag queen in a light-pink gown holds a children's book on stage.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1502136296-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1502136296-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1502136296-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1502136296-1024x576.jpg",
"width": 1024,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1502136296-1024x675.jpg",
"width": 1024,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1502136296.jpg",
"width": 1024,
"height": 683
}
},
"fetchFailed": false,
"isLoading": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false
},
"authorsReducer": {
"byline_arts_13985020": {
"type": "authors",
"id": "byline_arts_13985020",
"meta": {
"override": true
},
"slug": "byline_arts_13985020",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"byline_arts_13985007": {
"type": "authors",
"id": "byline_arts_13985007",
"meta": {
"override": true
},
"slug": "byline_arts_13985007",
"name": "Jake Coyle, Associated Press",
"isLoading": false
},
"byline_arts_13984868": {
"type": "authors",
"id": "byline_arts_13984868",
"meta": {
"override": true
},
"slug": "byline_arts_13984868",
"name": "Lindsey Bahr, Associated Press",
"isLoading": false
},
"mfox": {
"type": "authors",
"id": "22",
"meta": {
"index": "authors_1716337520",
"id": "22",
"found": true
},
"name": "Michael Fox",
"firstName": "Michael",
"lastName": "Fox",
"slug": "mfox",
"email": "foxonfilm@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Michael Fox has written about film for dozens of publications since 1987. He is a founding member of the San Francisco Bay Area Film Critics Circle.",
"avatar": "https://secure.gravatar.com/avatar/81710be6517181c0d40977bb09011d5f?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Michael Fox | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/81710be6517181c0d40977bb09011d5f?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/81710be6517181c0d40977bb09011d5f?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mfox"
},
"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> will be published by City Lights in Spring 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/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g",
"twitter": 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/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter and editor at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She holds a BA in comparative literature from UC Berkeley.",
"avatar": "https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
},
"opena": {
"type": "authors",
"id": "11903",
"meta": {
"index": "authors_1716337520",
"id": "11903",
"found": true
},
"name": "Octavio Peña",
"firstName": "Octavio",
"lastName": "Peña",
"slug": "opena",
"email": "octaviopenagutierrez@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/8fb464e0c705ab58fc9d18e06211557c?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Octavio Peña | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/8fb464e0c705ab58fc9d18e06211557c?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/8fb464e0c705ab58fc9d18e06211557c?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/opena"
},
"jmelido": {
"type": "authors",
"id": "11972",
"meta": {
"index": "authors_1716337520",
"id": "11972",
"found": true
},
"name": "Janea Melido",
"firstName": "Janea",
"lastName": "Melido",
"slug": "jmelido",
"email": "jmelido@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Intern, KQED Arts & Culture",
"bio": "Janea Melido is an intern for KQED Arts & Culture. She holds a Bachelor of Arts in English and minor in Ethnic Studies from the University of Portland. She's drawn to the quiet power of everyday stories, especially ones that often go overlooked. When she's not reporting, she enjoys cutting up her old print stories and making collages out of them.",
"avatar": "https://secure.gravatar.com/avatar/1e679c879b975011fb9063670025e2cf?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Janea Melido | KQED",
"description": "Intern, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/1e679c879b975011fb9063670025e2cf?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/1e679c879b975011fb9063670025e2cf?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jmelido"
}
},
"breakingNewsReducer": {},
"pagesReducer": {
"root-site_thedolist": {
"type": "pages",
"id": "root-site_25895",
"meta": {
"index": "pages_1716337520",
"site": "root-site",
"id": "25895",
"score": 0
},
"slug": "thedolist",
"title": "The Do List",
"headTitle": "The Do List | KQED",
"pagePath": "thedolist",
"pageMeta": {
"sticky": false,
"adSlotOverride": "300x250_arts",
"excludeFromSiteSearch": "Include"
},
"headData": {
"title": "The Do List | KQED",
"description": "The best the Bay Area has to offer, from the writers and editors of KQED Arts & Culture.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"canonicalUrl": "https://www.kqed.org/thedolist",
"imageData": {
"ogImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"width": 1200,
"height": 630
},
"twImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
},
"twitterCard": "summary_large_image"
}
},
"labelTerm": {
"site": ""
},
"publishDate": 1738100298,
"content": "\u003cdiv class=\"wp-block-kqed-blocksetter\">\u003c/div>\n\n\n\n\u003cp class=\"has-text-align-center thedolist\">The best the Bay Area has to offer, from the writers and editors of KQED Arts & Culture.\u003c/p>\n\n\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [
{
"blockName": "kqed/blocksetter",
"attrs": {
"blockName": "kqed/thedolist-header"
},
"innerHTML": "\n\u003cdiv class=\"wp-block-kqed-blocksetter\">\u003c/div>\n",
"innerContent": [
"\n\u003cdiv class=\"wp-block-kqed-blocksetter\">\u003c/div>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"align": "center",
"className": "thedolist"
},
"innerHTML": "\n\u003cp class=\"has-text-align-center thedolist\">The best the Bay Area has to offer, from the writers and editors of KQED Arts & Culture.\u003c/p>\n",
"innerContent": [
"\n\u003cp class=\"has-text-align-center thedolist\">The best the Bay Area has to offer, from the writers and editors of KQED Arts & Culture.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "kqed/post-list",
"attrs": {
"query": "posts/?program=the-do-list&queryId=16fed56f278",
"title": "Critics’ Picks",
"seeMore": true,
"sizeBase": 12,
"sizeSeeMore": 12
},
"innerHTML": "",
"innerContent": [],
"innerBlocks": []
}
],
"status": "publish",
"parent": 0,
"modified": 1755117016,
"format": "standard",
"path": "/thedolist",
"redirect": {
"type": "internal",
"url": "/thedolist"
},
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"wp-block-kqed-blocksetter\">\u003c/div>\n\n\n\n\u003cp class=\"has-text-align-center thedolist\">The best the Bay Area has to offer, from the writers and editors of KQED Arts & Culture.\u003c/p>\n\n\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"label": "root-site",
"isLoading": false
}
},
"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": "/"
}
},
"arts_13985020": {
"type": "posts",
"id": "arts_13985020",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985020",
"score": null,
"sort": [
1766086079000
]
},
"guestAuthors": [],
"slug": "sydney-sweeney-amanda-seyfried-housemaid-review",
"title": "‘The Housemaid’ Is a Twisty Horror-Thriller With Nudity and Empowerment",
"publishDate": 1766086079,
"format": "standard",
"headTitle": "‘The Housemaid’ Is a Twisty Horror-Thriller With Nudity and Empowerment | KQED",
"labelTerm": {},
"content": "\u003cp>Santa left us a present this holiday season and it is exactly what we didn’t know we needed: A twisty, psychological horror-thriller with nudity that’s all wrapped up in an empowerment message.\u003c/p>\n\u003cp>\u003cem>The Housemaid\u003c/em> is Paul Feig’s delicious, satirical look at the secret depravity of the ultra-rich, but it’s so well constructed that’s it’s not clear who’s naughty or nice. Halfway through, the movie zigs and everything you expected zags.\u003c/p>\n\u003cp>It’s almost impossible to thread the line between self-winking campy — “That’s a lot of bacon. Are you trying to kill us?” — and carving someone’s stomach with a broken piece of fine china, yet Feig and screenwriter Rebecca Sonnenshine do.\u003c/p>\n\u003cp>Sydney Sweeney stars as a down-on-her luck Millie Calloway, a gal with a troubled past living out of her car who answers an ad for a live-in housekeeper in a tony suburb of New York City. Her resume is fraudulent, as are her references.\u003c/p>\n\u003cfigure id=\"attachment_13985022\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg\" alt=\"A woman stands in front of bookshelves.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sydney Sweeney in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, the madam of the mansion, Nina Winchester played with frosty excellence by Amanda Seyfried in pearls and creamy knits, takes a shine to this young soul. “I have a really good feeling about this, Millie,” she says in that perky, slightly crazed clipped way that Seyfried always slays with. “This is going to be fun, Millie.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maybe not for Millie, but definitely for us. The young housekeeper gets her own room in the attic — weird that it closes with a deadbolt from the outside, but no matter — and we’re off. Mille gets a smartphone with the family’s credit card preloaded and a key for that deadbolt. “What kind of monsters are we?” asks Nina. Indeed.\u003c/p>\n\u003cp>The next day, the house is a mess when the housekeeper comes down and Seyfried is in a wide-eyed, crashing-plates, full-on psychotic rage. The sweet, supportive woman we met the day before is gone. But her hunky husband (Brandon Sklenar) is helpful and apologetic. And smoldering. Uh-oh. Did we mention he’s hunky?\u003c/p>\n\u003cfigure id=\"attachment_13985023\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg\" alt=\"A woman stands in the doorway to a house.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If at first we understand that the housekeeper is being a little manipulative — lying to get the job, for instance, or wearing glasses to seem more serious — we soon realize that all kinds of gaslighting games are being played behind these gates, and they’re much more impactful.\u003c/p>\n\u003cp>Based on Freida McFadden’s novel, \u003cem>The Housemaid\u003c/em> rides waves of manipulation and then turns the tables on what we think we’ve just seen, looking at male-female power structures and how privilege can trap people without it.\u003c/p>\n\u003cp>The film is as good looking as the actors, with nifty touches like having the main house spare, well-lit and bright, while the husband’s private screening room in the basement is done in a hellish red. There are little jokes throughout, like the husband and the housemaid bonding over old episodes of \u003cem>Family Feud\u003c/em>, with the name saying it all.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=48CtX6OgU3s\u003c/p>\n\u003cp>Feig and his team also have fun with horror movie conventions, like having a silent, foreboding groundskeeper, adding a creepy dollhouse and placing lightning and thunder during a pivotal scene. They surround the mansion with fussy, aristocratic PTA moms who have tea parties and say things like “You know what yoga means to me.”\u003c/p>\n\u003cp>Feig’s fascinating combination of gore, torture and hot sex ends happily, capped off with Taylor Swift’s perfectly conjured “I Did Something Bad” playing over the end credits. Not at all: This naughty movie is definitely on the nice list.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Housemaid’ opens in theaters Dec. 19, 2025.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Starring Sydney Sweeney and Amanda Seyfried, Paul Feig’s latest is a satirical look at the ultra-wealthy.",
"status": "publish",
"parent": 0,
"modified": 1766086171,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 660
},
"headData": {
"title": "Movie Review: ‘The Housemaid’ Is a Twisty Horror-Thriller | KQED",
"description": "Starring Sydney Sweeney and Amanda Seyfried, Paul Feig’s latest is a satirical look at the ultra-wealthy.",
"ogTitle": "‘The Housemaid’ Is a Twisty Horror-Thriller With Nudity and Empowerment",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘The Housemaid’ Is a Twisty Horror-Thriller With Nudity and Empowerment",
"twDescription": "",
"twImgId": "",
"socialTitle": "Movie Review: ‘The Housemaid’ Is a Twisty Horror-Thriller %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘The Housemaid’ Is a Twisty Horror-Thriller With Nudity and Empowerment",
"datePublished": "2025-12-18T11:27:59-08:00",
"dateModified": "2025-12-18T11:29:31-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprByline": "Mark Kennedy, Associated Press",
"nprStoryId": "kqed-13985020",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13985020/sydney-sweeney-amanda-seyfried-housemaid-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Santa left us a present this holiday season and it is exactly what we didn’t know we needed: A twisty, psychological horror-thriller with nudity that’s all wrapped up in an empowerment message.\u003c/p>\n\u003cp>\u003cem>The Housemaid\u003c/em> is Paul Feig’s delicious, satirical look at the secret depravity of the ultra-rich, but it’s so well constructed that’s it’s not clear who’s naughty or nice. Halfway through, the movie zigs and everything you expected zags.\u003c/p>\n\u003cp>It’s almost impossible to thread the line between self-winking campy — “That’s a lot of bacon. Are you trying to kill us?” — and carving someone’s stomach with a broken piece of fine china, yet Feig and screenwriter Rebecca Sonnenshine do.\u003c/p>\n\u003cp>Sydney Sweeney stars as a down-on-her luck Millie Calloway, a gal with a troubled past living out of her car who answers an ad for a live-in housekeeper in a tony suburb of New York City. Her resume is fraudulent, as are her references.\u003c/p>\n\u003cfigure id=\"attachment_13985022\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg\" alt=\"A woman stands in front of bookshelves.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sydney Sweeney in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, the madam of the mansion, Nina Winchester played with frosty excellence by Amanda Seyfried in pearls and creamy knits, takes a shine to this young soul. “I have a really good feeling about this, Millie,” she says in that perky, slightly crazed clipped way that Seyfried always slays with. “This is going to be fun, Millie.”\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>Maybe not for Millie, but definitely for us. The young housekeeper gets her own room in the attic — weird that it closes with a deadbolt from the outside, but no matter — and we’re off. Mille gets a smartphone with the family’s credit card preloaded and a key for that deadbolt. “What kind of monsters are we?” asks Nina. Indeed.\u003c/p>\n\u003cp>The next day, the house is a mess when the housekeeper comes down and Seyfried is in a wide-eyed, crashing-plates, full-on psychotic rage. The sweet, supportive woman we met the day before is gone. But her hunky husband (Brandon Sklenar) is helpful and apologetic. And smoldering. Uh-oh. Did we mention he’s hunky?\u003c/p>\n\u003cfigure id=\"attachment_13985023\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg\" alt=\"A woman stands in the doorway to a house.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If at first we understand that the housekeeper is being a little manipulative — lying to get the job, for instance, or wearing glasses to seem more serious — we soon realize that all kinds of gaslighting games are being played behind these gates, and they’re much more impactful.\u003c/p>\n\u003cp>Based on Freida McFadden’s novel, \u003cem>The Housemaid\u003c/em> rides waves of manipulation and then turns the tables on what we think we’ve just seen, looking at male-female power structures and how privilege can trap people without it.\u003c/p>\n\u003cp>The film is as good looking as the actors, with nifty touches like having the main house spare, well-lit and bright, while the husband’s private screening room in the basement is done in a hellish red. There are little jokes throughout, like the husband and the housemaid bonding over old episodes of \u003cem>Family Feud\u003c/em>, with the name saying it all.\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/48CtX6OgU3s'\n title='//www.youtube.com/embed/48CtX6OgU3s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Feig and his team also have fun with horror movie conventions, like having a silent, foreboding groundskeeper, adding a creepy dollhouse and placing lightning and thunder during a pivotal scene. They surround the mansion with fussy, aristocratic PTA moms who have tea parties and say things like “You know what yoga means to me.”\u003c/p>\n\u003cp>Feig’s fascinating combination of gore, torture and hot sex ends happily, capped off with Taylor Swift’s perfectly conjured “I Did Something Bad” playing over the end credits. Not at all: This naughty movie is definitely on the nice list.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Housemaid’ opens in theaters Dec. 19, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985020/sydney-sweeney-amanda-seyfried-housemaid-review",
"authors": [
"byline_arts_13985020"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_22313"
],
"tags": [
"arts_10278",
"arts_977",
"arts_5087",
"arts_22343",
"arts_3465",
"arts_585",
"arts_11718"
],
"featImg": "arts_13985021",
"label": "source_arts_13985020"
},
"arts_13985007": {
"type": "posts",
"id": "arts_13985007",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985007",
"score": null,
"sort": [
1766012090000
]
},
"guestAuthors": [],
"slug": "avatar-fire-and-ash-review-james-cameron",
"title": "‘Avatar: Fire and Ash’ Rewards Fans With 195 Minutes of Wonder and War",
"publishDate": 1766012090,
"format": "standard",
"headTitle": "‘Avatar: Fire and Ash’ Rewards Fans With 195 Minutes of Wonder and War | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>When I came down with a cold the day after I saw the third and latest \u003ci>Avatar\u003c/i> film, \u003ci>Fire and Ash\u003c/i>, I half-wondered if I had picked it up on Pandora.\u003c/p>\n\u003cp>The promise of Cameron’s 3D trilogy has always been immersion: immersion in a science-fiction world, in technological wonder, in a maybe future of movies. \u003cem>Avatar\u003c/em> is almost more a place to go than a movie to see.\u003c/p>\n\u003cp>[aside postID='arts_13984991']Still, it’s now been two decades since Cameron set off on this blue-tinted quest. The sheen of newness is off, or at least less pronounced, with new technological advances to contend with. \u003cem>Fire and Ash\u003c/em> is running with a behind-the-scenes video about how performance capture was used during the film’s making. The implicit message is: No, this isn’t AI.\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films, with their visual-effects wizardry and clunky revisionist Western storytelling, have always felt, most of all, like an immersion in a dream of James Cameron’s. The idea of these movies, after all, first came to Cameron, he has said, in a bioluminescent vision decades ago. At their best, the \u003cem>Avatar\u003c/em> movies have felt like an otherworldly stage for Cameron to juggle so many of the things — hulking weaponry, ecological wonder, foolhardy human arrogance — that have marked his movies.\u003c/p>\n\u003cfigure id=\"attachment_13985012\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg\" alt=\"flying alien ships in purple pink sky\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, at well more than three hours, is our longest stay yet on Pandora and the one most likely to make you ponder why you came here in the first place. These remain epics of craft and conviction. You can feel Cameron’s deep devotion to the dynamics of his central characters, even when his interest outstrips our own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s especially true in \u003cem>Fire and Ash\u003c/em>, which, following the deep-sea, family-focused part two, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13922812/take-the-plunge-avatars-underwater-scenes-are-immersive-and-extraordinary\">The Way of Water\u003c/a>\u003c/em>, pivots to a new chapter of culture clash. It introduces a violent rival Na’vi clan whose rageful leader, Varang (Oona Chaplin), partners with Stephen Lang’s booming Col. Miles Quaritch and the human colonizers.\u003c/p>\n\u003cp>For those who have closely followed the \u003cem>Avatar\u003c/em> saga, I suspect \u003cem>Fire and Ash\u003c/em> will be a rewarding experience. Quaritch, Pandora’s answer to Robert Duvall’s Bill Kilgore in \u003cem>Apocalypse Now\u003c/em>, remains a ferociously captivating character. And the introduction of Chaplin’s Varang gives this installment an electricity that the previous two were missing.\u003c/p>\n\u003cp>But for those whose trips to Pandora have made less of an impact, \u003cem>Fire and Ash\u003c/em> is a bit like returning to a half-remembered vacation spot, only one where the local ponytail style is a little strange and everyone seems to have the waist of a supermodel.\u003c/p>\n\u003cfigure id=\"attachment_13985013\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg\" alt=\"two aliens sharing a moment on shore under moonlight\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Lo’ak, performed by Britain Dalton, left, and Tsireya, performed by Bailey Bass, in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Time has only reinforced the sense that these films are hermetically sealed movie terrariums. They’re like a $1 billion beta test that, for all their box-office success, have ultimately proven that all the design capabilities in the world can’t conjure a story of meaningful impact. The often-remarked light cultural footprint left by the first two blockbusters only hints at why these movie seem to evaporate by the ending credits. It’s the lack of inner life to any of the characters and the bland, screen-saver aesthetics. At this point in a trilogy, nine hours in, that hollowness makes \u003cem>Fire and Ash\u003c/em> feel like almost theoretical drama: more avatar than genuine article.\u003c/p>\n\u003cp>These movies have had to work extremely hard, moment to moment, just to pass as believable. But almost every gesture, every movement and every bit of dialogue has had something unnatural about it. (The high frame rate is partially to blame.) That’s made these uncanny movies a combination, in equal measure, of things you’ve never seen before, and things you can’t unsee.\u003c/p>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, scripted by Cameron, Rick Jaffa and Amanda Silver, picks up with the aftermath of the climatic battle of \u003cem>The Way of Water\u003c/em>. The Na’vi and their seafaring allies, the Metkayina clan, are nursing their wounds and recovering the human weapons that sunk to the sea floor.\u003c/p>\n\u003cp>When a rival clan called the Mangkwan or Ash People come to challenge the Na’vi, those weapons represent an ethical quandary. Should they use such firepower in their own local battles? This is a more difficult question partially because the fire-mad Mangkwan are especially bloodthirsty, led by their slinky sorceress, Vanang (played with seductive sadism by Chaplin, granddaughter of Charlie).\u003c/p>\n\u003cp>But their fight is only a piece of the larger war of \u003cem>Fire and Ash\u003c/em>. The focus of this third chapter (films four and five are said to be written but not greenlit) is interspecies coexistence. As human and Na’vi lines continue to blur, the question becomes whether the human invaders will transform Pandora or if Pandora will transform them.\u003c/p>\n\u003cfigure id=\"attachment_13985014\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg\" alt=\"aliens in military attire glower\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Lang’s character Quaritch in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That puts the focus on the three characters in various in-between states. First, there’s Spider (Jack Champion), the human son of Quaritch who lives happily with the Na’vi while breathing through a machine to survive the Pandora atmosphere. (Champion has the double misfortune of wearing a mask and looking downright puny next to the tall and slender natives.) But in \u003cem>Fire and Ash\u003c/em>, he discovers he can breathe unfiltered, a development that prompts intense military interest in a potentially hugely profitable breakthrough in Pandora assimilation.\u003c/p>\n\u003cp>There’s also Jake Sully (Sam Worthington), the former human who has made a Na’vi family with Neytiri (Zoe Saldaña). For Neytiri, the growing menace of human warfare causes her to doubt her bond with Jake. The prejudices of \u003cem>Fire and Ash\u003c/em> seep even into the home.\u003c/p>\n\u003cp>Most interesting of the three, though, remains Quaritch. He may be violently trying to subjugate Pandora but he also obviously delights in his Na’vi body and in his life on this distant moon. You can see him flinch when his commander, General Ardmore (Edie Falco), refers to their Mangkwan allies as “savages.” Meanwhile, Quaritch and Vanang hit it off like gangbusters.\u003c/p>\n\u003cp>“You’ve got new eyes, colonel,” one character tells Quaritch. “All you’ve got to do is open them.”\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films have done plenty to open eyes over the past 16 years. To new cinematic horizons, to the boundlessness of Cameron’s visions, to the Papyrus font. But the most endearing quality of \u003cem>Avatar\u003c/em> is that Cameron believes so ardently in it. I might be caught up less in the goings on Pandora, but I’m kind of glad that he is. There are worse things than dreaming up a better world, with still a fighting chance.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Avatar: Fire and Ash,’ opens in theaters Dec. 19, 2025.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "You can feel James Cameron’s devotion to his characters, even when his interest outstrips our own.",
"status": "publish",
"parent": 0,
"modified": 1766012857,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 21,
"wordCount": 1205
},
"headData": {
"title": "‘Avatar: Fire and Ash’ Review: A Lengthy Visit to Pandora | KQED",
"description": "You can feel James Cameron’s devotion to his characters, even when his interest outstrips our own.",
"ogTitle": "‘Avatar: Fire and Ash’ Rewards Fans With 195 Minutes of Wonder and War",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Avatar: Fire and Ash’ Rewards Fans With 195 Minutes of Wonder and War",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Avatar: Fire and Ash’ Review: A Lengthy Visit to Pandora %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Avatar: Fire and Ash’ Rewards Fans With 195 Minutes of Wonder and War",
"datePublished": "2025-12-17T14:54:50-08:00",
"dateModified": "2025-12-17T15:07:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprByline": "Jake Coyle, Associated Press",
"nprStoryId": "kqed-13985007",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13985007/avatar-fire-and-ash-review-james-cameron",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I came down with a cold the day after I saw the third and latest \u003ci>Avatar\u003c/i> film, \u003ci>Fire and Ash\u003c/i>, I half-wondered if I had picked it up on Pandora.\u003c/p>\n\u003cp>The promise of Cameron’s 3D trilogy has always been immersion: immersion in a science-fiction world, in technological wonder, in a maybe future of movies. \u003cem>Avatar\u003c/em> is almost more a place to go than a movie to see.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13984991",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Still, it’s now been two decades since Cameron set off on this blue-tinted quest. The sheen of newness is off, or at least less pronounced, with new technological advances to contend with. \u003cem>Fire and Ash\u003c/em> is running with a behind-the-scenes video about how performance capture was used during the film’s making. The implicit message is: No, this isn’t AI.\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films, with their visual-effects wizardry and clunky revisionist Western storytelling, have always felt, most of all, like an immersion in a dream of James Cameron’s. The idea of these movies, after all, first came to Cameron, he has said, in a bioluminescent vision decades ago. At their best, the \u003cem>Avatar\u003c/em> movies have felt like an otherworldly stage for Cameron to juggle so many of the things — hulking weaponry, ecological wonder, foolhardy human arrogance — that have marked his movies.\u003c/p>\n\u003cfigure id=\"attachment_13985012\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg\" alt=\"flying alien ships in purple pink sky\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, at well more than three hours, is our longest stay yet on Pandora and the one most likely to make you ponder why you came here in the first place. These remain epics of craft and conviction. You can feel Cameron’s deep devotion to the dynamics of his central characters, even when his interest outstrips our own.\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’s especially true in \u003cem>Fire and Ash\u003c/em>, which, following the deep-sea, family-focused part two, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13922812/take-the-plunge-avatars-underwater-scenes-are-immersive-and-extraordinary\">The Way of Water\u003c/a>\u003c/em>, pivots to a new chapter of culture clash. It introduces a violent rival Na’vi clan whose rageful leader, Varang (Oona Chaplin), partners with Stephen Lang’s booming Col. Miles Quaritch and the human colonizers.\u003c/p>\n\u003cp>For those who have closely followed the \u003cem>Avatar\u003c/em> saga, I suspect \u003cem>Fire and Ash\u003c/em> will be a rewarding experience. Quaritch, Pandora’s answer to Robert Duvall’s Bill Kilgore in \u003cem>Apocalypse Now\u003c/em>, remains a ferociously captivating character. And the introduction of Chaplin’s Varang gives this installment an electricity that the previous two were missing.\u003c/p>\n\u003cp>But for those whose trips to Pandora have made less of an impact, \u003cem>Fire and Ash\u003c/em> is a bit like returning to a half-remembered vacation spot, only one where the local ponytail style is a little strange and everyone seems to have the waist of a supermodel.\u003c/p>\n\u003cfigure id=\"attachment_13985013\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg\" alt=\"two aliens sharing a moment on shore under moonlight\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Lo’ak, performed by Britain Dalton, left, and Tsireya, performed by Bailey Bass, in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Time has only reinforced the sense that these films are hermetically sealed movie terrariums. They’re like a $1 billion beta test that, for all their box-office success, have ultimately proven that all the design capabilities in the world can’t conjure a story of meaningful impact. The often-remarked light cultural footprint left by the first two blockbusters only hints at why these movie seem to evaporate by the ending credits. It’s the lack of inner life to any of the characters and the bland, screen-saver aesthetics. At this point in a trilogy, nine hours in, that hollowness makes \u003cem>Fire and Ash\u003c/em> feel like almost theoretical drama: more avatar than genuine article.\u003c/p>\n\u003cp>These movies have had to work extremely hard, moment to moment, just to pass as believable. But almost every gesture, every movement and every bit of dialogue has had something unnatural about it. (The high frame rate is partially to blame.) That’s made these uncanny movies a combination, in equal measure, of things you’ve never seen before, and things you can’t unsee.\u003c/p>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, scripted by Cameron, Rick Jaffa and Amanda Silver, picks up with the aftermath of the climatic battle of \u003cem>The Way of Water\u003c/em>. The Na’vi and their seafaring allies, the Metkayina clan, are nursing their wounds and recovering the human weapons that sunk to the sea floor.\u003c/p>\n\u003cp>When a rival clan called the Mangkwan or Ash People come to challenge the Na’vi, those weapons represent an ethical quandary. Should they use such firepower in their own local battles? This is a more difficult question partially because the fire-mad Mangkwan are especially bloodthirsty, led by their slinky sorceress, Vanang (played with seductive sadism by Chaplin, granddaughter of Charlie).\u003c/p>\n\u003cp>But their fight is only a piece of the larger war of \u003cem>Fire and Ash\u003c/em>. The focus of this third chapter (films four and five are said to be written but not greenlit) is interspecies coexistence. As human and Na’vi lines continue to blur, the question becomes whether the human invaders will transform Pandora or if Pandora will transform them.\u003c/p>\n\u003cfigure id=\"attachment_13985014\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg\" alt=\"aliens in military attire glower\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Lang’s character Quaritch in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That puts the focus on the three characters in various in-between states. First, there’s Spider (Jack Champion), the human son of Quaritch who lives happily with the Na’vi while breathing through a machine to survive the Pandora atmosphere. (Champion has the double misfortune of wearing a mask and looking downright puny next to the tall and slender natives.) But in \u003cem>Fire and Ash\u003c/em>, he discovers he can breathe unfiltered, a development that prompts intense military interest in a potentially hugely profitable breakthrough in Pandora assimilation.\u003c/p>\n\u003cp>There’s also Jake Sully (Sam Worthington), the former human who has made a Na’vi family with Neytiri (Zoe Saldaña). For Neytiri, the growing menace of human warfare causes her to doubt her bond with Jake. The prejudices of \u003cem>Fire and Ash\u003c/em> seep even into the home.\u003c/p>\n\u003cp>Most interesting of the three, though, remains Quaritch. He may be violently trying to subjugate Pandora but he also obviously delights in his Na’vi body and in his life on this distant moon. You can see him flinch when his commander, General Ardmore (Edie Falco), refers to their Mangkwan allies as “savages.” Meanwhile, Quaritch and Vanang hit it off like gangbusters.\u003c/p>\n\u003cp>“You’ve got new eyes, colonel,” one character tells Quaritch. “All you’ve got to do is open them.”\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films have done plenty to open eyes over the past 16 years. To new cinematic horizons, to the boundlessness of Cameron’s visions, to the Papyrus font. But the most endearing quality of \u003cem>Avatar\u003c/em> is that Cameron believes so ardently in it. I might be caught up less in the goings on Pandora, but I’m kind of glad that he is. There are worse things than dreaming up a better world, with still a fighting chance.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Avatar: Fire and Ash,’ opens in theaters Dec. 19, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985007/avatar-fire-and-ash-review-james-cameron",
"authors": [
"byline_arts_13985007"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_977",
"arts_769",
"arts_585"
],
"featImg": "arts_13985011",
"label": "arts_140"
},
"arts_13984991": {
"type": "posts",
"id": "arts_13984991",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13984991",
"score": null,
"sort": [
1765996430000
]
},
"guestAuthors": [],
"slug": "marty-supreme-review-timothee-chalamet-josh-safdie",
"title": "Manic ‘Marty Supreme’ Smashes the American Dream",
"publishDate": 1765996430,
"format": "standard",
"headTitle": "Manic ‘Marty Supreme’ Smashes the American Dream | KQED",
"labelTerm": {},
"content": "\u003cp>Rooting for the underdog, on the field or in a movie, is one of America’s greatest traditions. You can trace it all the way back to our time-honored, tea-stained origin story of a ragtag band of farmers and shopkeepers taking on the British Empire. \u003c/p>\n\u003cp>[aside postID='arts_13984386']\u003cem>Marty Supreme\u003c/em> (opening Dec. 25), Josh Safdie’s beautifully crafted runaway train with an astonishing Timothée Chalamet as its pedal-to-the-metal engineer, turns the basic underdog dynamic, with all its brio and bravery and desperation and bullshit, into a feverish exposé of the fury and folly of the American Dream. If that isn’t your cup of mead, friend, what kind of patriot are you?\u003c/p>\n\u003cp>Josh Safdie’s best films (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13872331/uncut-gems-glittering-darkly\">Uncut Gems\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.npr.org/2017/08/11/542423079/stylishly-gritty-this-chase-thriller-really-is-a-good-time\">Good Time\u003c/a>\u003c/em>, co-directed with his brother Bennie, who also directed a sports movie on his own this year, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13982077/smashing-machine-movie-review-mark-kerr-biopic-mma-dwayne-rock-johnson\">The Smashing Machine\u003c/a>\u003c/em>) center on men who know only one direction (forward) and one speed (faster). Are those protagonists (played by Adam Sandler and Robert Pattinson) and Marty running toward something or away from something? It’s a trick question, of course.\u003c/p>\n\u003cfigure id=\"attachment_13984493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg\" alt=\"blurry image of man running down busy city street with valise\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13984493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chalamet’s Marty Mauser is inspired by the late Marty Reisman, who titled his (ghostwritten) 1974 autobiography \u003cem>\u003ca href=\"https://archive.org/details/moneyplayercon00reis\">The Money Player: The Confessions of America’s Greatest Table Tennis Champion and Hustler\u003c/a>\u003c/em>. But we have no clue this skinny kid is an athlete when we are introduced to him in the early 1950s. He’s conning a customer in his uncle’s Lower East Side shoe store into buying the too-tight pair he’s passing off as her size.\u003c/p>\n\u003cp>She’s too savvy to fall for Marty’s spiel — much of the tension in \u003cem>Marty Supreme\u003c/em> derives from whether people will fold or stiffen in the face of his high-speed verbal onslaughts — but she’s instantly displaced by the arrival of a young woman who has some urgent footwear business with Marty that takes them downstairs to the storeroom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em>’s early scenes, set in confined spaces, convey the claustrophobia driving its namesake to exceed the world’s expectations and escape the crummy, anonymous life everyone around him seems fated to. But we aren’t prepared for Marty’s lunatic ambition, and his off-putting brand of American exceptionalism in which he effortlessly shifts from hero to victim to suit his schemes.\u003c/p>\n\u003cfigure id=\"attachment_13985002\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg\" alt=\"black man and white man gesture over ping pong table in bowling alley\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, the Creator and Timothée Chalamet in a scene from ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are both charmed by and leery of this showman, gambler and flamboyant self-promoter who, we come to see, is indifferent to the damage he leaves in his wake. If Marty is a kind of forerunner for larger-than-life competitors like Muhammad Ali, Evel Knievel, Pete Rose and John McEnroe, he’s also cut from the same cloth as the “pal” who borrowed your car and lied about the scratches and dents.\u003c/p>\n\u003cp>Most filmmakers would be content to highlight the working-class desolation of Marty’s milieu, and let the high-stakes drama of far-flung table-tennis tournaments and New Jersey bowling alley scams rivet the viewer. Safdie and co-writer Ronald Bronstein bravely go further, repeatedly reminding us of Marty’s Jewishness in ways that are edgy and shocking.\u003c/p>\n\u003cp>In one scene, Marty cajoles fellow player Béla (Hungarian actor Géza Rohrig of the shattering 2015 concentration-camp saga \u003cem>\u003ca href=\"https://www.kqed.org/arts/11241009/shallow-focus-creates-depth-of-feeling-in-son-of-saul\">Son of Saul\u003c/a>\u003c/em>) to reveal the tattooed numbers on his arm to a stranger. Later, on a trip to the Middle East, Marty shamelessly chips off a piece from a pyramid that he gifts to his mother with the line, “We built it.”\u003c/p>\n\u003cfigure id=\"attachment_13985003\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg\" alt=\"blond woman in hat looking up\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gwyneth Paltrow in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t enough for Marty to make some money, get his picture in the papers and travel abroad. Nor is it enough to capture the attention of a one-time movie star (Gwyneth Paltrow) with a rich husband. Sadly, he isn’t satisfied with success.\u003c/p>\n\u003cp>If I were a lousy psychotherapist, I might see \u003cem>Marty Supreme\u003c/em> as a Holocaust-revenge movie. Marty’s taking (back) what’s his (or what he sees as the Jewish people’s). The problem with that interpretation is that Marty directs his white-hot frenzy at anyone in his path, including erstwhile friends and supporters. He combines the ambition of \u003ca href=\"https://www.youtube.com/watch?v=1ADWjL42OGc\">Duddy Kravitz\u003c/a>, the zero-to-60 acceleration of the Roadrunner and the relentlessness of the Terminator with their accompanying lack of scruples.\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em> is far and away one of the best movies of 2025, and its brilliant execution extends to the way it guides your feelings toward its anti-hero. There comes a point, sooner or later, where you will stop taking Marty’s side. You may even hope for his comeuppance, as I did. And then there’s a turn where Safdie and Chalamet will likely make you root for Marty again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>American movies typically encourage us to cheer for the underdog. \u003cem>Marty Supreme\u003c/em> makes you question that simple loyalty, and ponder how much a child of immigrants who seeks to prove that the streets are paved with gold is allowed to get away with.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Josh Safdie and Timothée Chalamet deliver a kinetic portrait of a gambler betting on himself.",
"status": "publish",
"parent": 0,
"modified": 1766008981,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 905
},
"headData": {
"title": "Manic ‘Marty Supreme’ Smashes the American Dream | KQED",
"description": "Josh Safdie and Timothée Chalamet deliver a kinetic portrait of a gambler betting on himself.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Manic ‘Marty Supreme’ Smashes the American Dream",
"datePublished": "2025-12-17T10:33:50-08:00",
"dateModified": "2025-12-17T14:03:01-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13984991",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13984991/marty-supreme-review-timothee-chalamet-josh-safdie",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rooting for the underdog, on the field or in a movie, is one of America’s greatest traditions. You can trace it all the way back to our time-honored, tea-stained origin story of a ragtag band of farmers and shopkeepers taking on the British Empire. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13984386",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Marty Supreme\u003c/em> (opening Dec. 25), Josh Safdie’s beautifully crafted runaway train with an astonishing Timothée Chalamet as its pedal-to-the-metal engineer, turns the basic underdog dynamic, with all its brio and bravery and desperation and bullshit, into a feverish exposé of the fury and folly of the American Dream. If that isn’t your cup of mead, friend, what kind of patriot are you?\u003c/p>\n\u003cp>Josh Safdie’s best films (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13872331/uncut-gems-glittering-darkly\">Uncut Gems\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.npr.org/2017/08/11/542423079/stylishly-gritty-this-chase-thriller-really-is-a-good-time\">Good Time\u003c/a>\u003c/em>, co-directed with his brother Bennie, who also directed a sports movie on his own this year, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13982077/smashing-machine-movie-review-mark-kerr-biopic-mma-dwayne-rock-johnson\">The Smashing Machine\u003c/a>\u003c/em>) center on men who know only one direction (forward) and one speed (faster). Are those protagonists (played by Adam Sandler and Robert Pattinson) and Marty running toward something or away from something? It’s a trick question, of course.\u003c/p>\n\u003cfigure id=\"attachment_13984493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg\" alt=\"blurry image of man running down busy city street with valise\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13984493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chalamet’s Marty Mauser is inspired by the late Marty Reisman, who titled his (ghostwritten) 1974 autobiography \u003cem>\u003ca href=\"https://archive.org/details/moneyplayercon00reis\">The Money Player: The Confessions of America’s Greatest Table Tennis Champion and Hustler\u003c/a>\u003c/em>. But we have no clue this skinny kid is an athlete when we are introduced to him in the early 1950s. He’s conning a customer in his uncle’s Lower East Side shoe store into buying the too-tight pair he’s passing off as her size.\u003c/p>\n\u003cp>She’s too savvy to fall for Marty’s spiel — much of the tension in \u003cem>Marty Supreme\u003c/em> derives from whether people will fold or stiffen in the face of his high-speed verbal onslaughts — but she’s instantly displaced by the arrival of a young woman who has some urgent footwear business with Marty that takes them downstairs to the storeroom.\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>Marty Supreme\u003c/em>’s early scenes, set in confined spaces, convey the claustrophobia driving its namesake to exceed the world’s expectations and escape the crummy, anonymous life everyone around him seems fated to. But we aren’t prepared for Marty’s lunatic ambition, and his off-putting brand of American exceptionalism in which he effortlessly shifts from hero to victim to suit his schemes.\u003c/p>\n\u003cfigure id=\"attachment_13985002\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg\" alt=\"black man and white man gesture over ping pong table in bowling alley\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, the Creator and Timothée Chalamet in a scene from ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are both charmed by and leery of this showman, gambler and flamboyant self-promoter who, we come to see, is indifferent to the damage he leaves in his wake. If Marty is a kind of forerunner for larger-than-life competitors like Muhammad Ali, Evel Knievel, Pete Rose and John McEnroe, he’s also cut from the same cloth as the “pal” who borrowed your car and lied about the scratches and dents.\u003c/p>\n\u003cp>Most filmmakers would be content to highlight the working-class desolation of Marty’s milieu, and let the high-stakes drama of far-flung table-tennis tournaments and New Jersey bowling alley scams rivet the viewer. Safdie and co-writer Ronald Bronstein bravely go further, repeatedly reminding us of Marty’s Jewishness in ways that are edgy and shocking.\u003c/p>\n\u003cp>In one scene, Marty cajoles fellow player Béla (Hungarian actor Géza Rohrig of the shattering 2015 concentration-camp saga \u003cem>\u003ca href=\"https://www.kqed.org/arts/11241009/shallow-focus-creates-depth-of-feeling-in-son-of-saul\">Son of Saul\u003c/a>\u003c/em>) to reveal the tattooed numbers on his arm to a stranger. Later, on a trip to the Middle East, Marty shamelessly chips off a piece from a pyramid that he gifts to his mother with the line, “We built it.”\u003c/p>\n\u003cfigure id=\"attachment_13985003\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg\" alt=\"blond woman in hat looking up\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gwyneth Paltrow in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t enough for Marty to make some money, get his picture in the papers and travel abroad. Nor is it enough to capture the attention of a one-time movie star (Gwyneth Paltrow) with a rich husband. Sadly, he isn’t satisfied with success.\u003c/p>\n\u003cp>If I were a lousy psychotherapist, I might see \u003cem>Marty Supreme\u003c/em> as a Holocaust-revenge movie. Marty’s taking (back) what’s his (or what he sees as the Jewish people’s). The problem with that interpretation is that Marty directs his white-hot frenzy at anyone in his path, including erstwhile friends and supporters. He combines the ambition of \u003ca href=\"https://www.youtube.com/watch?v=1ADWjL42OGc\">Duddy Kravitz\u003c/a>, the zero-to-60 acceleration of the Roadrunner and the relentlessness of the Terminator with their accompanying lack of scruples.\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em> is far and away one of the best movies of 2025, and its brilliant execution extends to the way it guides your feelings toward its anti-hero. There comes a point, sooner or later, where you will stop taking Marty’s side. You may even hope for his comeuppance, as I did. And then there’s a turn where Safdie and Chalamet will likely make you root for Marty again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>American movies typically encourage us to cheer for the underdog. \u003cem>Marty Supreme\u003c/em> makes you question that simple loyalty, and ponder how much a child of immigrants who seeks to prove that the streets are paved with gold is allowed to get away with.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13984991/marty-supreme-review-timothee-chalamet-josh-safdie",
"authors": [
"22"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_22313"
],
"tags": [
"arts_10278",
"arts_977",
"arts_769",
"arts_585"
],
"featImg": "arts_13985001",
"label": "source_arts_13984991"
},
"arts_13984961": {
"type": "posts",
"id": "arts_13984961",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13984961",
"score": null,
"sort": [
1765911523000
]
},
"guestAuthors": [],
"slug": "kaytlin-bailey-sex-workers-comedian-one-woman-show-san-francisco",
"title": "Comedian Kaytlin Bailey Revives the Forgotten Histories of Sex Workers",
"publishDate": 1765911523,
"format": "standard",
"headTitle": "Comedian Kaytlin Bailey Revives the Forgotten Histories of Sex Workers | KQED",
"labelTerm": {},
"content": "\u003cp>Kaytlin Bailey didn’t originally set out to become a sex worker rights activist. She just wanted to be funny.\u003c/p>\n\u003cp>But in 2018, under the first Trump administration, the FOSTA-SESTA bill passed, criminalizing the online assistance, facilitation and support systems sex workers relied on to stay safe. Bailey, a New York–based stand-up comedian and former sex worker, felt compelled to use her platform to speak out against the law’s devastating impact.\u003c/p>\n\u003cp>“I believe that if you can make people laugh, you can make people listen,” Bailey said. “Comedy has a long history of that, and it’s a great way to cut through a lot of noise.”\u003c/p>\n\u003cp>Since then, Bailey’s career has expanded well beyond the stand-up stage. She is the founder and executive director of \u003ca href=\"https://oldprosonline.org/\">Old Pros\u003c/a>, a sex worker–led nonprofit focused on advocacy through storytelling; the host of \u003ci>The Oldest Profession\u003c/i> podcast; and the writer and performer behind a series of one-woman shows.\u003c/p>\n\u003cp>Her most recent one-woman show, also called \u003ci>The Oldest Profession\u003c/i>, comes to San Francisco on Dec. 17, at the Lost Church. The 70-minute solo performance is a narrative sprint through 10,000 years of sex worker history as it has manifested globally, dating back as early as ancient Mesopotamia. Bailey brings her trademark irreverence to this hybrid of history lecture, comedic monologue and cultural critique that explores and revives the marginalized stories of sex workers.\u003c/p>\n\u003cfigure id=\"attachment_13984970\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984970\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1.jpg\" alt=\"A woman holding a microphone as she speaks on stage.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bailey performing her previous one-woman show, ‘Whore’s Eye View,’ in Orlando. \u003ccite>(Ashleigh Ann Gardner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before doors open for the performance, the Lost Church will host a free community event honoring sex workers who’ve passed away. The gathering is part of the \u003ca href=\"https://www.nswp.org/event/international-day-end-violence-against-sex-workers-6\">International Day to End Violence Against Sex Workers\u003c/a>, founded by San Francisco–based sex worker activists Annie Sprinkle and Robyn Few, who also founded the \u003ca href=\"https://www.nswp.org/featured/swop-usa\">Sex Workers Outreach Project USA\u003c/a> (SWOP-USA).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a lot of examples of sex workers coming together and organizing and making their voices heard in San Francisco, which is why I’m so excited to be bringing this show there and performing it in front of people that do this work,” Bailey said.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13894842']\u003c/span>Throughout her career, Bailey has witnessed the “pendulum swing both ways” with regard to attitudes toward sex work. She recalls that when she first started out in the early 2000s, a time steeped in fat-shaming and slut-shaming, pop culture icons like Christina Aguilera seemed to promise a new era of freedom.\u003c/p>\n\u003cp>“It once felt inconceivable that \u003ci>Roe v. Wade\u003c/i> could be overturned. It felt like opportunities for women were always expanding,” she said.\u003c/p>\n\u003cp>Yet progress has proven fragile, and many of the legal and cultural barriers from decades past persist and have intensified under the current political climate.\u003c/p>\n\u003cp>The first Trump administration’s nomination of three conservative Supreme Court justices shifted the Court’s balance and set the stage for the \u003ca href=\"https://www.npr.org/2022/06/24/1102305878/supreme-court-abortion-roe-v-wade-decision-overturn\">overturn of \u003ci>Roe v. Wade\u003c/i>\u003c/a> in 2022. This shift in reproductive rights reflected a larger pattern of restricting sexual autonomy — a reality that sex workers, in particular, continue to confront. For the next generation of feminists, Bailey urges expanding rights and resources for sex workers, and not mistaking prohibition for protection.\u003c/p>\n\u003cp>“I believe that we will work towards a future with less sexual violence and less gender-based violence, not by policing anyone’s sex life harder, but by giving more people, including the most vulnerable people, more access to rights and resources,” Bailey said. “Criminalizing our work and criminalizing our livelihood just isn’t how you get there.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Bailey’s one-woman show, \u003c/i>The Oldest Profession\u003ci>, comes to the Lost Church (988 Columbus Ave., San Francisco) on December 17. Doors open at 7:30 p.m., with a free community event starting at 6 p.m. Tickets and more information \u003c/i>\u003ca href=\"https://thelostchurch.my.salesforce-sites.com/ticket/#/instances/a0FTU00000M8OtJ2AV\">\u003ci>here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "'The Oldest Profession' comes to San Francisco on International Day to End Violence Against Sex Workers.",
"status": "publish",
"parent": 0,
"modified": 1765911587,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 676
},
"headData": {
"title": "Comedian Kaytlin Bailey Revives the Forgotten Histories of Sex Workers | KQED",
"description": "'The Oldest Profession' comes to San Francisco on International Day to End Violence Against Sex Workers.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Comedian Kaytlin Bailey Revives the Forgotten Histories of Sex Workers",
"datePublished": "2025-12-16T10:58:43-08:00",
"dateModified": "2025-12-16T10:59:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"WpOldSlug": "comedian-kaytlin-bailey-revives-the-forgotten-histories-of-sex-workers",
"nprStoryId": "kqed-13984961",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13984961/kaytlin-bailey-sex-workers-comedian-one-woman-show-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kaytlin Bailey didn’t originally set out to become a sex worker rights activist. She just wanted to be funny.\u003c/p>\n\u003cp>But in 2018, under the first Trump administration, the FOSTA-SESTA bill passed, criminalizing the online assistance, facilitation and support systems sex workers relied on to stay safe. Bailey, a New York–based stand-up comedian and former sex worker, felt compelled to use her platform to speak out against the law’s devastating impact.\u003c/p>\n\u003cp>“I believe that if you can make people laugh, you can make people listen,” Bailey said. “Comedy has a long history of that, and it’s a great way to cut through a lot of noise.”\u003c/p>\n\u003cp>Since then, Bailey’s career has expanded well beyond the stand-up stage. She is the founder and executive director of \u003ca href=\"https://oldprosonline.org/\">Old Pros\u003c/a>, a sex worker–led nonprofit focused on advocacy through storytelling; the host of \u003ci>The Oldest Profession\u003c/i> podcast; and the writer and performer behind a series of one-woman shows.\u003c/p>\n\u003cp>Her most recent one-woman show, also called \u003ci>The Oldest Profession\u003c/i>, comes to San Francisco on Dec. 17, at the Lost Church. The 70-minute solo performance is a narrative sprint through 10,000 years of sex worker history as it has manifested globally, dating back as early as ancient Mesopotamia. Bailey brings her trademark irreverence to this hybrid of history lecture, comedic monologue and cultural critique that explores and revives the marginalized stories of sex workers.\u003c/p>\n\u003cfigure id=\"attachment_13984970\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984970\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1.jpg\" alt=\"A woman holding a microphone as she speaks on stage.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bailey performing her previous one-woman show, ‘Whore’s Eye View,’ in Orlando. \u003ccite>(Ashleigh Ann Gardner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before doors open for the performance, the Lost Church will host a free community event honoring sex workers who’ve passed away. The gathering is part of the \u003ca href=\"https://www.nswp.org/event/international-day-end-violence-against-sex-workers-6\">International Day to End Violence Against Sex Workers\u003c/a>, founded by San Francisco–based sex worker activists Annie Sprinkle and Robyn Few, who also founded the \u003ca href=\"https://www.nswp.org/featured/swop-usa\">Sex Workers Outreach Project USA\u003c/a> (SWOP-USA).\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>“There’s a lot of examples of sex workers coming together and organizing and making their voices heard in San Francisco, which is why I’m so excited to be bringing this show there and performing it in front of people that do this work,” Bailey said.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894842",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Throughout her career, Bailey has witnessed the “pendulum swing both ways” with regard to attitudes toward sex work. She recalls that when she first started out in the early 2000s, a time steeped in fat-shaming and slut-shaming, pop culture icons like Christina Aguilera seemed to promise a new era of freedom.\u003c/p>\n\u003cp>“It once felt inconceivable that \u003ci>Roe v. Wade\u003c/i> could be overturned. It felt like opportunities for women were always expanding,” she said.\u003c/p>\n\u003cp>Yet progress has proven fragile, and many of the legal and cultural barriers from decades past persist and have intensified under the current political climate.\u003c/p>\n\u003cp>The first Trump administration’s nomination of three conservative Supreme Court justices shifted the Court’s balance and set the stage for the \u003ca href=\"https://www.npr.org/2022/06/24/1102305878/supreme-court-abortion-roe-v-wade-decision-overturn\">overturn of \u003ci>Roe v. Wade\u003c/i>\u003c/a> in 2022. This shift in reproductive rights reflected a larger pattern of restricting sexual autonomy — a reality that sex workers, in particular, continue to confront. For the next generation of feminists, Bailey urges expanding rights and resources for sex workers, and not mistaking prohibition for protection.\u003c/p>\n\u003cp>“I believe that we will work towards a future with less sexual violence and less gender-based violence, not by policing anyone’s sex life harder, but by giving more people, including the most vulnerable people, more access to rights and resources,” Bailey said. “Criminalizing our work and criminalizing our livelihood just isn’t how you get there.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Bailey’s one-woman show, \u003c/i>The Oldest Profession\u003ci>, comes to the Lost Church (988 Columbus Ave., San Francisco) on December 17. Doors open at 7:30 p.m., with a free community event starting at 6 p.m. Tickets and more information \u003c/i>\u003ca href=\"https://thelostchurch.my.salesforce-sites.com/ticket/#/instances/a0FTU00000M8OtJ2AV\">\u003ci>here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13984961/kaytlin-bailey-sex-workers-comedian-one-woman-show-san-francisco",
"authors": [
"11972"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_968",
"arts_22313"
],
"tags": [
"arts_10278",
"arts_1674",
"arts_1146",
"arts_4330",
"arts_1871",
"arts_585"
],
"featImg": "arts_13984967",
"label": "source_arts_13984961"
},
"arts_13984267": {
"type": "posts",
"id": "arts_13984267",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13984267",
"score": null,
"sort": [
1765900804000
]
},
"guestAuthors": [],
"slug": "mia-pixley-jazz-cello-new-album-review-love-dark-bloom-berkeley-concert",
"title": "Cellist Mia Pixley Flourishes in Darkness",
"publishDate": 1765900804,
"format": "standard",
"headTitle": "Cellist Mia Pixley Flourishes in Darkness | KQED",
"labelTerm": {},
"content": "\u003cp>As cold weather and lack of sunlight cause the leaves’ dominant shades of green to fade, other pigments, like the orange and yellow carotenoids and red and purple anthocyanins, become more visible. The beautiful colors lie dormant in the leaves year-round, only to be revealed by darkness.\u003c/p>\n\u003cp>This is a perfect metaphor for \u003ca href=\"https://www.instagram.com/miapixley/\">Mia Pixley\u003c/a>’s new album, \u003ca href=\"https://soundcloud.com/miapixley/sets/love-dark-bloom/s-GNOs40YEvhV\">\u003ci>Love. Dark. Bloom.\u003c/i>\u003c/a> The soulful jazz singer and cellist pulls from the unknown, the absence of light and even the underworld in her latest body of work.\u003c/p>\n\u003cfigure id=\"attachment_13984301\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984301\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-scaled.jpg\" alt=\"A woman with an afro sings while on stage.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1368x2048.jpg 1368w\" sizes=\"auto, (max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Multitalented musician Mia Pixley, seen here performing at Ciel Creative Space in Berkeley, is using her music to explore the beautiful things that can come from the darker side of life. \u003ccite>(Josh Sugitan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I naturally gravitate towards what’s unseen,” says Pixley during a phone call, explaining that her attraction to “what’s underneath” or what some people might deem as “taboo” is pushed by her understanding that darkness is a huge part of who we are as people.\u003c/p>\n\u003cp>“And so when I’m approaching my art, I’m interested in looking at these areas,” she says in reference to darkness, adding that she’s mindful of finding ways to them “zing.”\u003c/p>\n\u003cp>That alchemy is shown from the start of the nine-track album, \u003ca href=\"https://miapixley.com/contact-1\">which she’ll be performing\u003c/a> across the state, in Occidental on Dec. 20 and at \u003ca href=\"https://secure.thefreight.org/15380/15381-barbara-higbie-and-friends-winter-solstice-celebration-251221\">The Freight\u003c/a> in Berkeley on Dec. 21, the evening of the Winter Solstice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album kicks off with the song “Like Water, Like Love,” providing theme music for an adventure into the depths. The rhythmic thud of Pixley’s cello is paired with drums, creating a sound that’s tailor-made for a lovely jaunt into the unknown.\u003c/p>\n\u003cp>By the end of the song, the drums are stripped from the track and the jaunting is over; the only thing left is Pixley’s haunting hymns and the umph of the string instrument. The journey toward darkness begins.\u003c/p>\n\u003cp>The album proceeds to a jazzy, uptempo, smoky-room-sounding song in “Gimmie The Juice,” before leading us to “Dirty” (inspired by the James Baldwin’s \u003cem>Previous Condition\u003c/em>) and “Marigold” (inspired by Toni Morrison’s \u003cem>The Bluest Eye\u003c/em>).\u003c/p>\n\u003cp>Pixley, the co-organizer of \u003ca href=\"https://www.instagram.com/bushwickbookcluboakland/?hl=en\">the Bushwick Book Club Oakland\u003c/a>, periodically meets with other local musicians, reads the same book and then writes music inspired by the literature. If so moved, the artists perform their song for an audience. (Pixley, \u003ca href=\"https://nikbomusic.com/\">Nikbo \u003c/a>and \u003ca href=\"https://clairecalderon.com/\">Claire Calderón\u003c/a> also co-wrote the song “Mother Told Me,” which appears later in the album; it was inspired by the book \u003cem>Women Who Run with the Wolves\u003c/em>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PZxtGhk8rPA\u003c/p>\n\u003cp>Just past the halfway point of the project, the fifth song brings us into peak darkness. And it’s beautiful. The track, “A Woman, A Wind,” opens with a foot-tapping rhythm as Pixley plays the cello and sings in a gritty tone, “She was walking along the road…”\u003c/p>\n\u003cp>The song literally came to Pixley during a walk, when she had this idea about a person wearing a top hat. A people pleaser like herself, the top-hatter had to learn how to not “dance and jive for people,” she tells me. Instead, both she and the fictional character had to learn to “let it go.”\u003c/p>\n\u003cp>The driving rhythm — an urgent strumming of the cello strings that sounds like change is coming — came to her thereafter. She paired it with a benevolently delightful melody for juxtaposition. “It’s, like, free,” Pixley says in reference to the lighter side of the song’s counterbalance.\u003c/p>\n\u003cp>She laid it all down on a five-channel looper and then mapped out where the supporting artists would fit in.\u003c/p>\n\u003cp>“I do all the harmonies,” says Pixley, bringing me into the magic behind the scenes. “And then,” she says, “in the recording session is when I invite people that I think whose artistic sensibilities can take those ideas to the next level.” On this track those “artistic sensibilities” were provided by \u003ca href=\"https://linktr.ee/hapabass?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnKDAfxmOM8xik_-ykOJmi_zmfTHhPI7m0mr31HW3YzSkmOg8-vCJIcTDI77E_aem_BhexGW1hvR6uWl9-i1H_eg\">Kevin Goldberg\u003c/a>, \u003ca href=\"https://chezhanny.com/isaac_schwartz_2022.html\">Isaac Schwartz\u003c/a>, \u003ca href=\"https://www.instagram.com/mc.arthurgiuseppe/?hl=en\">Ian McArdle\u003c/a> and \u003ca href=\"https://www.instagram.com/bryancsimmons/?hl=en\">Bryan C. Simmons\u003c/a>.\u003c/p>\n\u003cp>The song is a journey and, arguably, the epitome of the album. It takes the listener from the darkness of confusion through the driving sound of change before ending on a profound note.\u003c/p>\n\u003cp>“And it don’t matter where that wind blows,” Pixley sings in an ominous tone over slow strums of the cello at the very end of the song. “Just know, it gets harder when you won’t let go.”\u003c/p>\n\u003cfigure id=\"attachment_13984302\" class=\"wp-caption aligncenter\" style=\"max-width: 774px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley.png\" alt=\"A woman sits, posing for a photo, holding her cello vertically. \" width=\"774\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley.png 774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley-160x161.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley-768x774.png 768w\" sizes=\"auto, (max-width: 774px) 100vw, 774px\">\u003cfigcaption class=\"wp-caption-text\">Mia Pixley, who has been playing the cello since about the age of four, uses the instrument to guide her through dark times as an adult. \u003ccite>(Victor Xie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A psychologist as well as an artist, Pixley says her dealings in darkness in both practices “cross-pollinate.” At the heart of it all is the idea of “transforming hard things into new energy.”\u003c/p>\n\u003cp>Through listening, feeling and intuiting — trusting her intuition — Pixley gathers the information she needs for her work. “I like being \u003cem>in the things,” \u003c/em>she says of her ability to use more than her eyes to explore.\u003c/p>\n\u003cp>Artistically inclined from a young age, Pixley asserts that her time in New York studying at Columbia University nurtured her natural proclivities.\u003c/p>\n\u003cp>Born in Texas during the winter months, Pixley used to not like the cold season. But through the process of making this album, she’s shifted her relationship with winter and simultaneously broken free of repeating patterns in her life by simply “feeling” her way through it, she says.\u003c/p>\n\u003cp>“Darkness requires a different kind of sensing,” states Pixley, explaining that this season is all about hearing, tasting, feeling and “listening to ancestral guidance.” And because it requires a different set of senses, some people can find it “totally unnerving.”\u003c/p>\n\u003cp>For Pixley, navigating darkness, be it from lack of light or clarity, is like the child’s game of “Lights Out,” or Hide-And-Go-Seek in the dark. To play the game, she says, you have to move slower.\u003c/p>\n\u003cp>As the album concludes, it goes from the cold, somber depths of the songs “Dark” and “Line” to remerge with light in the final track, “Bloom.”\u003c/p>\n\u003cp>The track was originally written as a commissioned piece for famed violinist\u003ca href=\"https://www.npr.org/artists/570165123/anne-akiko-meyers\"> Anne Akiko Meyers\u003c/a>, who was moved by Pixley’s performance of “\u003ca href=\"https://www.youtube.com/watch?v=PZxtGhk8rPA\">Everything is Slow Motion\u003c/a>” at the de Young Museum with Mercury Soul.\u003c/p>\n\u003cp>“She reached out to me and said, ‘Could you write me a song?'” recalls Pixley, who then wrote “Bloom,” but Meyers never used it. “So,” explains Pixley, “I asked her permission if I could put it on this project because it felt like the right track to close the album.” Meyers agreed, under one condition: that Pixley note that it was originally penned for her.\u003c/p>\n\u003cp>“Whenever I need good external validation,” Pixley reflects, with a lightness in her tone, “I’m like, ‘But Anne believes in me.'” More seriously, she notes that reassurance is a necessity when you’re on a path through darkness.\u003c/p>\n\u003cp>“If I do this journey with openness and with surrender and with love,” says Pixley, “It’s gonna bloom.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Mia Pixley’s album \u003ca href=\"https://soundcloud.com/miapixley/sets/love-dark-bloom/s-GNOs40YEvhV?si=e2bbb10ddc484e9d8d6e38eb7cac4a44&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing\">Love. Dark. Bloom.\u003c/a> was released on Dec. 4. She’ll be performing on Dec. 21, as a part of Barbara Higbie and Friends Winter Solstice Celebration (with Vicki Randle, Kofy Brown, Michaelle Goerlitz and Jasper Manning). Doors open at 6 p.m., and the event starts at 7 p.m. at The Freight in Berkeley (2020 Addison St.). \u003ca href=\"https://secure.thefreight.org/15380/15381-barbara-higbie-and-friends-winter-solstice-celebration-251221\">Check here for more information\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Mia Pixley’s new album ‘Love. Dark. Bloom.’ is an exercise in using all of your senses. ",
"status": "publish",
"parent": 0,
"modified": 1765911136,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 30,
"wordCount": 1366
},
"headData": {
"title": "Cellist Mia Pixley Performs New Album in Berkeley | KQED",
"description": "Mia Pixley’s new album ‘Love. Dark. Bloom.’ is an exercise in using all of your senses. ",
"ogTitle": "Cellist Mia Pixley Flourishes in Darkness",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Cellist Mia Pixley Flourishes in Darkness",
"twDescription": "",
"twImgId": "",
"socialTitle": "Cellist Mia Pixley Performs New Album in Berkeley %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cellist Mia Pixley Flourishes in Darkness",
"datePublished": "2025-12-16T08:00:04-08:00",
"dateModified": "2025-12-16T10:52:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13984267",
"templateType": "standard",
"featuredImageType": "standard",
"subhead": "'Tis the season to \"feel your way through\" the darkness. ",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13984267/mia-pixley-jazz-cello-new-album-review-love-dark-bloom-berkeley-concert",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As cold weather and lack of sunlight cause the leaves’ dominant shades of green to fade, other pigments, like the orange and yellow carotenoids and red and purple anthocyanins, become more visible. The beautiful colors lie dormant in the leaves year-round, only to be revealed by darkness.\u003c/p>\n\u003cp>This is a perfect metaphor for \u003ca href=\"https://www.instagram.com/miapixley/\">Mia Pixley\u003c/a>’s new album, \u003ca href=\"https://soundcloud.com/miapixley/sets/love-dark-bloom/s-GNOs40YEvhV\">\u003ci>Love. Dark. Bloom.\u003c/i>\u003c/a> The soulful jazz singer and cellist pulls from the unknown, the absence of light and even the underworld in her latest body of work.\u003c/p>\n\u003cfigure id=\"attachment_13984301\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984301\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-scaled.jpg\" alt=\"A woman with an afro sings while on stage.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1368x2048.jpg 1368w\" sizes=\"auto, (max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Multitalented musician Mia Pixley, seen here performing at Ciel Creative Space in Berkeley, is using her music to explore the beautiful things that can come from the darker side of life. \u003ccite>(Josh Sugitan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I naturally gravitate towards what’s unseen,” says Pixley during a phone call, explaining that her attraction to “what’s underneath” or what some people might deem as “taboo” is pushed by her understanding that darkness is a huge part of who we are as people.\u003c/p>\n\u003cp>“And so when I’m approaching my art, I’m interested in looking at these areas,” she says in reference to darkness, adding that she’s mindful of finding ways to them “zing.”\u003c/p>\n\u003cp>That alchemy is shown from the start of the nine-track album, \u003ca href=\"https://miapixley.com/contact-1\">which she’ll be performing\u003c/a> across the state, in Occidental on Dec. 20 and at \u003ca href=\"https://secure.thefreight.org/15380/15381-barbara-higbie-and-friends-winter-solstice-celebration-251221\">The Freight\u003c/a> in Berkeley on Dec. 21, the evening of the Winter Solstice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The album kicks off with the song “Like Water, Like Love,” providing theme music for an adventure into the depths. The rhythmic thud of Pixley’s cello is paired with drums, creating a sound that’s tailor-made for a lovely jaunt into the unknown.\u003c/p>\n\u003cp>By the end of the song, the drums are stripped from the track and the jaunting is over; the only thing left is Pixley’s haunting hymns and the umph of the string instrument. The journey toward darkness begins.\u003c/p>\n\u003cp>The album proceeds to a jazzy, uptempo, smoky-room-sounding song in “Gimmie The Juice,” before leading us to “Dirty” (inspired by the James Baldwin’s \u003cem>Previous Condition\u003c/em>) and “Marigold” (inspired by Toni Morrison’s \u003cem>The Bluest Eye\u003c/em>).\u003c/p>\n\u003cp>Pixley, the co-organizer of \u003ca href=\"https://www.instagram.com/bushwickbookcluboakland/?hl=en\">the Bushwick Book Club Oakland\u003c/a>, periodically meets with other local musicians, reads the same book and then writes music inspired by the literature. If so moved, the artists perform their song for an audience. (Pixley, \u003ca href=\"https://nikbomusic.com/\">Nikbo \u003c/a>and \u003ca href=\"https://clairecalderon.com/\">Claire Calderón\u003c/a> also co-wrote the song “Mother Told Me,” which appears later in the album; it was inspired by the book \u003cem>Women Who Run with the Wolves\u003c/em>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PZxtGhk8rPA'\n title='//www.youtube.com/embed/PZxtGhk8rPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Just past the halfway point of the project, the fifth song brings us into peak darkness. And it’s beautiful. The track, “A Woman, A Wind,” opens with a foot-tapping rhythm as Pixley plays the cello and sings in a gritty tone, “She was walking along the road…”\u003c/p>\n\u003cp>The song literally came to Pixley during a walk, when she had this idea about a person wearing a top hat. A people pleaser like herself, the top-hatter had to learn how to not “dance and jive for people,” she tells me. Instead, both she and the fictional character had to learn to “let it go.”\u003c/p>\n\u003cp>The driving rhythm — an urgent strumming of the cello strings that sounds like change is coming — came to her thereafter. She paired it with a benevolently delightful melody for juxtaposition. “It’s, like, free,” Pixley says in reference to the lighter side of the song’s counterbalance.\u003c/p>\n\u003cp>She laid it all down on a five-channel looper and then mapped out where the supporting artists would fit in.\u003c/p>\n\u003cp>“I do all the harmonies,” says Pixley, bringing me into the magic behind the scenes. “And then,” she says, “in the recording session is when I invite people that I think whose artistic sensibilities can take those ideas to the next level.” On this track those “artistic sensibilities” were provided by \u003ca href=\"https://linktr.ee/hapabass?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnKDAfxmOM8xik_-ykOJmi_zmfTHhPI7m0mr31HW3YzSkmOg8-vCJIcTDI77E_aem_BhexGW1hvR6uWl9-i1H_eg\">Kevin Goldberg\u003c/a>, \u003ca href=\"https://chezhanny.com/isaac_schwartz_2022.html\">Isaac Schwartz\u003c/a>, \u003ca href=\"https://www.instagram.com/mc.arthurgiuseppe/?hl=en\">Ian McArdle\u003c/a> and \u003ca href=\"https://www.instagram.com/bryancsimmons/?hl=en\">Bryan C. Simmons\u003c/a>.\u003c/p>\n\u003cp>The song is a journey and, arguably, the epitome of the album. It takes the listener from the darkness of confusion through the driving sound of change before ending on a profound note.\u003c/p>\n\u003cp>“And it don’t matter where that wind blows,” Pixley sings in an ominous tone over slow strums of the cello at the very end of the song. “Just know, it gets harder when you won’t let go.”\u003c/p>\n\u003cfigure id=\"attachment_13984302\" class=\"wp-caption aligncenter\" style=\"max-width: 774px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley.png\" alt=\"A woman sits, posing for a photo, holding her cello vertically. \" width=\"774\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley.png 774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley-160x161.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley-768x774.png 768w\" sizes=\"auto, (max-width: 774px) 100vw, 774px\">\u003cfigcaption class=\"wp-caption-text\">Mia Pixley, who has been playing the cello since about the age of four, uses the instrument to guide her through dark times as an adult. \u003ccite>(Victor Xie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A psychologist as well as an artist, Pixley says her dealings in darkness in both practices “cross-pollinate.” At the heart of it all is the idea of “transforming hard things into new energy.”\u003c/p>\n\u003cp>Through listening, feeling and intuiting — trusting her intuition — Pixley gathers the information she needs for her work. “I like being \u003cem>in the things,” \u003c/em>she says of her ability to use more than her eyes to explore.\u003c/p>\n\u003cp>Artistically inclined from a young age, Pixley asserts that her time in New York studying at Columbia University nurtured her natural proclivities.\u003c/p>\n\u003cp>Born in Texas during the winter months, Pixley used to not like the cold season. But through the process of making this album, she’s shifted her relationship with winter and simultaneously broken free of repeating patterns in her life by simply “feeling” her way through it, she says.\u003c/p>\n\u003cp>“Darkness requires a different kind of sensing,” states Pixley, explaining that this season is all about hearing, tasting, feeling and “listening to ancestral guidance.” And because it requires a different set of senses, some people can find it “totally unnerving.”\u003c/p>\n\u003cp>For Pixley, navigating darkness, be it from lack of light or clarity, is like the child’s game of “Lights Out,” or Hide-And-Go-Seek in the dark. To play the game, she says, you have to move slower.\u003c/p>\n\u003cp>As the album concludes, it goes from the cold, somber depths of the songs “Dark” and “Line” to remerge with light in the final track, “Bloom.”\u003c/p>\n\u003cp>The track was originally written as a commissioned piece for famed violinist\u003ca href=\"https://www.npr.org/artists/570165123/anne-akiko-meyers\"> Anne Akiko Meyers\u003c/a>, who was moved by Pixley’s performance of “\u003ca href=\"https://www.youtube.com/watch?v=PZxtGhk8rPA\">Everything is Slow Motion\u003c/a>” at the de Young Museum with Mercury Soul.\u003c/p>\n\u003cp>“She reached out to me and said, ‘Could you write me a song?'” recalls Pixley, who then wrote “Bloom,” but Meyers never used it. “So,” explains Pixley, “I asked her permission if I could put it on this project because it felt like the right track to close the album.” Meyers agreed, under one condition: that Pixley note that it was originally penned for her.\u003c/p>\n\u003cp>“Whenever I need good external validation,” Pixley reflects, with a lightness in her tone, “I’m like, ‘But Anne believes in me.'” More seriously, she notes that reassurance is a necessity when you’re on a path through darkness.\u003c/p>\n\u003cp>“If I do this journey with openness and with surrender and with love,” says Pixley, “It’s gonna bloom.”\u003c/p>\n\u003chr>\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>Mia Pixley’s album \u003ca href=\"https://soundcloud.com/miapixley/sets/love-dark-bloom/s-GNOs40YEvhV?si=e2bbb10ddc484e9d8d6e38eb7cac4a44&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing\">Love. Dark. Bloom.\u003c/a> was released on Dec. 4. She’ll be performing on Dec. 21, as a part of Barbara Higbie and Friends Winter Solstice Celebration (with Vicki Randle, Kofy Brown, Michaelle Goerlitz and Jasper Manning). Doors open at 6 p.m., and the event starts at 7 p.m. at The Freight in Berkeley (2020 Addison St.). \u003ca href=\"https://secure.thefreight.org/15380/15381-barbara-higbie-and-friends-winter-solstice-celebration-251221\">Check here for more information\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13984267/mia-pixley-jazz-cello-new-album-review-love-dark-bloom-berkeley-concert",
"authors": [
"11491"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313"
],
"tags": [
"arts_1270",
"arts_10278",
"arts_1420",
"arts_769",
"arts_585"
],
"featImg": "arts_13984300",
"label": "source_arts_13984267"
},
"arts_13984414": {
"type": "posts",
"id": "arts_13984414",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13984414",
"score": null,
"sort": [
1765566007000
]
},
"guestAuthors": [],
"slug": "the-sea-captains-wife-brings-a-19th-century-san-francisco-legend-to-life",
"title": "‘The Sea Captain’s Wife’ Brings a 19th-Century San Francisco Legend to Life",
"publishDate": 1765566007,
"format": "aside",
"headTitle": "‘The Sea Captain’s Wife’ Brings a 19th-Century San Francisco Legend to Life | KQED",
"labelTerm": {},
"content": "\u003cfigure id=\"attachment_13984417\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984417\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife.png\" alt=\"A blue book cover featuring a large clipper ship, the silhouette of a sextant and a photograph of a young woman from the 1850s.\" width=\"1366\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife.png 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife-768x1124.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife-1049x1536.png 1049w\" sizes=\"auto, (max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">‘The Sea Captain’s Wife: A True Story of Mutiny, Love, and Adventure at the Bottom of the World’ by Tilar J. Mazzeo. \u003ccite>(St. Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A couple of years ago, I stumbled across a most unusual story from the annals of old San Francisco. It concerned a 19-year-old woman named \u003ca href=\"https://www.kqed.org/arts/13937270/the-pregnant-teen-who-captained-a-clipper-ship-in-1856\">Mary Ann Patten\u003c/a> who spent two months captaining a 216-foot-long clipper ship after her husband fell deathly ill during an around-the-world journey. In that time, Patten squashed an on-board mutiny, won the loyalty of the crew \u003cem>and\u003c/em> kept her husband alive. The kicker? She did all of this while pregnant with her first child.\u003c/p>\n\u003cp>Patten guided that ship, Neptune’s Car, into the port of San Francisco on Nov. 13, 1856, becoming the first American woman in history to captain a merchant vessel. Though she quickly became an overnight celebrity, Patten remained humble. “I … endeavored to perform that which seemed to me, under the circumstances, only the plain duty of a wife towards a good husband,” she said at the time.\u003c/p>\n\u003cp>[aside postid='arts_13937270']After I stumbled across Patten’s fascinating story, I did some research in the newspaper archives and wrote an essay in remembrance of her. But there was clearly so much more to her story to tell. This month, \u003cem>New York Times\u003c/em> bestselling author Tilar J. Mazzeo is honoring Patten with an entire book. \u003ca href=\"https://us.macmillan.com/books/9781250352583/theseacaptainswife/\">\u003cem>The Sea Captain’s Wife: A True Story of Mutiny, Love, and Adventure at the Bottom of the World\u003c/em>\u003c/a> brings Patten’s story to vivid life and makes clear just how much terror and tribulation were involved in her remarkable journey.\u003c/p>\n\u003cp>Mazzeo provides ample details of Patten’s family history, giving the reader extra reasons to root for her, as well as an understanding of where Patten got her fortitude. “Mary Ann grew up in [a tenement in] the North End of Boston,” Mazzeo notes, “then a neighborhood on the downswing and quickly becoming a bawdy maritime red-light district.”\u003c/p>\n\u003cp>That background also explains why Patten supported her husband’s grueling around-the-word trips. “Most clipper captains were able to earn [a] $100,000 fortune under a decade at sea and… that meant a lucky sea captain might be able to afford to retire by 30,” the book notes. “Then, if a captain were sailing against competitors, there was the money he could earn from what was, essentially, betting.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mazzeo paints vivid vistas of the lives of mariners during the mid-19th century — and it’s decidedly not a pretty picture. Honorable though the captains often were, Mazzeo suggests that many seamen of the era were an international coterie of incompetent, untrustworthy “vagrants with an attitude.”\u003c/p>\n\u003cp>It was for this reason that Patten was not supposed to associate with anyone on board except for her husband, their steward and the first mate. She was forbidden from wandering the decks. She was restrained by the women’s clothes of the day: stiff skirts, corsets and bonnets. Which makes it all the more remarkable when we finally see Patten take control of Neptune’s Car and swiftly win the dedicated support of the crew on board.\u003c/p>\n\u003cp>In its final third, \u003cem>The Sea Captain’s Wife\u003c/em> plays out like a movie — one that would seem entirely unrealistic if it wasn’t, in fact, all true. There are two key villains in this portion: the first is the mutinous first mate William Keeler, presented as an almost Dickensian miscreant. The second is the shipping company that refuses to pay up because it was Patten and not her husband who completed the journey.\u003c/p>\n\u003cp>[aside postid='arts_13984392']At times, \u003cem>The Sea Captain’s Wife\u003c/em> plays out like a good, old-fashioned, around-the-world adventure. The “forest of masts” at San Francisco’s Gold Rush-clogged shoreline. The floating, lamplit brothel boats that greeted Neptune’s Car in Hong Kong. The teeming warehouses of London’s docklands. The gardens and church steeples of New York City. Mazzeo describes each new city in ways that transport the reader back to the place, era and, frankly, the smells.\u003c/p>\n\u003cp>There are more mundane elements padding out \u003cem>The Sea Captain’s Wife\u003c/em> too — the tools of navigation, ship hierarchies and shipping industry politics in the 1800s. There are also many details about the hardships associated with specific patches of open waters. (If there is a moral to this story, it’s probably to avoid Drake’s Passage — the waters between South America and Antarctica — at all costs.) But these peripheral details are essential to understanding the full circumstances of Mary Ann Patten’s story.\u003c/p>\n\u003cp>Mazzeo wants the reader to take all of these facts as a whole and contemplate what they mean in a larger sense — a beautiful impulse in this book. About the Pattens, she writes: “Their story is the story of all those other nameless people whom history has not remembered but who once, out of love and loyalty and hope, did something amazing.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://us.macmillan.com/books/9781250352583/theseacaptainswife/\">\u003cem>‘The Sea Captain’s Wife: A True Story of Mutiny, Love, and Adventure at the Bottom of the World’\u003c/em>\u003c/a> \u003cem>by Tilar J. Mazzeo is out now, via St. Martin’s Press.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Tilar J. Mazzeo tells the true story of a pregnant teen who against all odds captained a cargo ship in 1856. ",
"status": "publish",
"parent": 0,
"modified": 1765500887,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 916
},
"headData": {
"title": "Book Review: ‘The Sea Captain's Wife’ by Tilar J. Mazzeo | KQED",
"description": "Tilar J. Mazzeo tells the true story of a pregnant teen who against all odds captained a cargo ship in 1856. ",
"ogTitle": "‘The Sea Captain’s Wife’ Brings a San Francisco Legend to Life",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘The Sea Captain’s Wife’ Brings a San Francisco Legend to Life",
"twDescription": "",
"twImgId": "",
"socialTitle": "Book Review: ‘The Sea Captain's Wife’ by Tilar J. Mazzeo %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘The Sea Captain’s Wife’ Brings a 19th-Century San Francisco Legend to Life",
"datePublished": "2025-12-12T11:00:07-08:00",
"dateModified": "2025-12-11T16:54:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 73,
"slug": "literature",
"name": "Books"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13984414/the-sea-captains-wife-brings-a-19th-century-san-francisco-legend-to-life",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13984417\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984417\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife.png\" alt=\"A blue book cover featuring a large clipper ship, the silhouette of a sextant and a photograph of a young woman from the 1850s.\" width=\"1366\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife.png 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife-768x1124.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife-1049x1536.png 1049w\" sizes=\"auto, (max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">‘The Sea Captain’s Wife: A True Story of Mutiny, Love, and Adventure at the Bottom of the World’ by Tilar J. Mazzeo. \u003ccite>(St. Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A couple of years ago, I stumbled across a most unusual story from the annals of old San Francisco. It concerned a 19-year-old woman named \u003ca href=\"https://www.kqed.org/arts/13937270/the-pregnant-teen-who-captained-a-clipper-ship-in-1856\">Mary Ann Patten\u003c/a> who spent two months captaining a 216-foot-long clipper ship after her husband fell deathly ill during an around-the-world journey. In that time, Patten squashed an on-board mutiny, won the loyalty of the crew \u003cem>and\u003c/em> kept her husband alive. The kicker? She did all of this while pregnant with her first child.\u003c/p>\n\u003cp>Patten guided that ship, Neptune’s Car, into the port of San Francisco on Nov. 13, 1856, becoming the first American woman in history to captain a merchant vessel. Though she quickly became an overnight celebrity, Patten remained humble. “I … endeavored to perform that which seemed to me, under the circumstances, only the plain duty of a wife towards a good husband,” she said at the time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13937270",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>After I stumbled across Patten’s fascinating story, I did some research in the newspaper archives and wrote an essay in remembrance of her. But there was clearly so much more to her story to tell. This month, \u003cem>New York Times\u003c/em> bestselling author Tilar J. Mazzeo is honoring Patten with an entire book. \u003ca href=\"https://us.macmillan.com/books/9781250352583/theseacaptainswife/\">\u003cem>The Sea Captain’s Wife: A True Story of Mutiny, Love, and Adventure at the Bottom of the World\u003c/em>\u003c/a> brings Patten’s story to vivid life and makes clear just how much terror and tribulation were involved in her remarkable journey.\u003c/p>\n\u003cp>Mazzeo provides ample details of Patten’s family history, giving the reader extra reasons to root for her, as well as an understanding of where Patten got her fortitude. “Mary Ann grew up in [a tenement in] the North End of Boston,” Mazzeo notes, “then a neighborhood on the downswing and quickly becoming a bawdy maritime red-light district.”\u003c/p>\n\u003cp>That background also explains why Patten supported her husband’s grueling around-the-word trips. “Most clipper captains were able to earn [a] $100,000 fortune under a decade at sea and… that meant a lucky sea captain might be able to afford to retire by 30,” the book notes. “Then, if a captain were sailing against competitors, there was the money he could earn from what was, essentially, betting.”\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>Mazzeo paints vivid vistas of the lives of mariners during the mid-19th century — and it’s decidedly not a pretty picture. Honorable though the captains often were, Mazzeo suggests that many seamen of the era were an international coterie of incompetent, untrustworthy “vagrants with an attitude.”\u003c/p>\n\u003cp>It was for this reason that Patten was not supposed to associate with anyone on board except for her husband, their steward and the first mate. She was forbidden from wandering the decks. She was restrained by the women’s clothes of the day: stiff skirts, corsets and bonnets. Which makes it all the more remarkable when we finally see Patten take control of Neptune’s Car and swiftly win the dedicated support of the crew on board.\u003c/p>\n\u003cp>In its final third, \u003cem>The Sea Captain’s Wife\u003c/em> plays out like a movie — one that would seem entirely unrealistic if it wasn’t, in fact, all true. There are two key villains in this portion: the first is the mutinous first mate William Keeler, presented as an almost Dickensian miscreant. The second is the shipping company that refuses to pay up because it was Patten and not her husband who completed the journey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13984392",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>At times, \u003cem>The Sea Captain’s Wife\u003c/em> plays out like a good, old-fashioned, around-the-world adventure. The “forest of masts” at San Francisco’s Gold Rush-clogged shoreline. The floating, lamplit brothel boats that greeted Neptune’s Car in Hong Kong. The teeming warehouses of London’s docklands. The gardens and church steeples of New York City. Mazzeo describes each new city in ways that transport the reader back to the place, era and, frankly, the smells.\u003c/p>\n\u003cp>There are more mundane elements padding out \u003cem>The Sea Captain’s Wife\u003c/em> too — the tools of navigation, ship hierarchies and shipping industry politics in the 1800s. There are also many details about the hardships associated with specific patches of open waters. (If there is a moral to this story, it’s probably to avoid Drake’s Passage — the waters between South America and Antarctica — at all costs.) But these peripheral details are essential to understanding the full circumstances of Mary Ann Patten’s story.\u003c/p>\n\u003cp>Mazzeo wants the reader to take all of these facts as a whole and contemplate what they mean in a larger sense — a beautiful impulse in this book. About the Pattens, she writes: “Their story is the story of all those other nameless people whom history has not remembered but who once, out of love and loyalty and hope, did something amazing.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://us.macmillan.com/books/9781250352583/theseacaptainswife/\">\u003cem>‘The Sea Captain’s Wife: A True Story of Mutiny, Love, and Adventure at the Bottom of the World’\u003c/em>\u003c/a> \u003cem>by Tilar J. Mazzeo is out now, via St. Martin’s Press.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13984414/the-sea-captains-wife-brings-a-19th-century-san-francisco-legend-to-life",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_7862",
"arts_22313"
],
"tags": [
"arts_10278",
"arts_2640",
"arts_22296",
"arts_1146",
"arts_585"
],
"featImg": "arts_13984418",
"label": "source_arts_13984414"
},
"arts_13984898": {
"type": "posts",
"id": "arts_13984898",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13984898",
"score": null,
"sort": [
1765498783000
]
},
"guestAuthors": [],
"slug": "egg-tarts-san-jose-pop-up-bakery-a-m-patisserie-pastel-de-nata",
"title": "This San José Pop-Up Bakery Sells 18 Different Varieties of Egg Tarts",
"publishDate": 1765498783,
"format": "standard",
"headTitle": "This San José Pop-Up Bakery Sells 18 Different Varieties of Egg Tarts | KQED",
"labelTerm": {},
"content": "\u003cp>You might imagine that most egg tarts are relatively indistinguishable, with their pastry cups and plain, sunglow-colored custard filling. You wouldn’t necessarily expect the treats to get remixed into dozens of different flavors.\u003c/p>\n\u003cp>That hasn’t stopped \u003ca href=\"https://www.instagram.com/a.m.patisserie\">A&M Pâtisserie\u003c/a>. The San José–based bakery pop-up sells a whopping eighteen different egg tart flavors, many of them inspired by various Asian cuisines. At a makers’ market at the Santa Clara Convention Center in November, a perpetual line of at least fifty customers swarmed the A&M booth for hours, everyone scanning the banner menu to decide which of the palm-sized egg tarts to order. A wide range of unconventional toppings included things like toasted marshmallows, flame-kissed corn kernels, \u003ca href=\"https://www.epicurious.com/recipes/food/views/milk-crumb-382321\">milk crumbs\u003c/a> and caramelized banana slices.\u003c/p>\n\u003cp>Alice Ngo and Minh Pham first started making egg tarts at home during the COVID lockdown. “We got laid off and had nothing to do,” says Pham. “Alice got bored and started baking.”\u003c/p>\n\u003cp>Ngo taught herself how to make Portuguese egg tarts (aka pastéis de nata) by watching YouTube videos. After getting positive feedback from friends and family, the couple started selling the pastries to the public through Instagram and Facebook.\u003c/p>\n\u003cfigure id=\"attachment_13984906\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984906\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham.jpg\" alt=\"An Asian woman and man in matching black hooded sweatshirts.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A&M founders Alice Ngo (left) and Minh Pham. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I wasn’t a baker, I was a cook,” says Pham. “But I enjoy pastries since I was born in France.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He moved to the United States in 2016 to pursue a tech career, but decided against working a desk job. Instead, he started working in restaurants and took cooking classes through the hospitality management program at Mission College. These days, Pham is the primary egg tart producer, juggling the pop-up with his day job as a baker at Alexander’s Patisserie. Meanwhile, Ngo uses her experience working at a hotel to handle the pop-up’s front-of-house operations and customer service.\u003c/p>\n\u003cp>The defining characteristic of a Portuguese-style egg tart is the custard filling’s blistered, caramelized top, which sets it apart from both British egg tarts and Cantonese \u003ca href=\"https://www.seriouseats.com/daan-tat-hong-kong-style-egg-tart-5208534\">dan tat\u003c/a> — the popular dim sum dish that is probably the best-known egg tart variation here in the Bay Area. Meanwhile, Macau, a former Portuguese territory, is known for egg tarts with a scorched custard that’s eggier and less sweet than pastel de nata. The distinctions between the styles have blurred over time, but originally British custard tarts used a shortbread crust and the others were made with puff pastry.\u003c/p>\n\u003cfigure id=\"attachment_13984904\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984904\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case.jpg\" alt=\"Display case with 18 different varieties of egg tarts.\" width=\"2000\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case-768x355.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case-1536x710.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">All 18 flavors in the display case at an A&M pop-up event in November 2025. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ngo and Pham eventually shifted away from the traditional pastel de nata because they wanted their egg tarts to be lighter and less sweet. They make the puff pastry shell extra-crispy and flaky to complement their creamy custards.\u003c/p>\n\u003cp>“I wanted something in between so I took the best of both and created my own,” says Pham. “It’s not Macau. It’s not Portuguese. It’s A&M’s.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13983625,arts_13984330,arts_13981935']\u003c/span>But the biggest thing that sets A&M Pâtisserie’s egg tarts apart is the sheer variety of flavors. The menu is ever growing as the bakers draw inspiration from their favorite pastries and restaurant dishes. Their guava egg tart is modeled after the guava-and-cheese strudel at Porto’s, the legendary Los Angeles–based Cuban bakery. The corn cheese flavor was inspired by kon-chijeu, their favorite Korean banchan. A few of A&M’s egg tarts, like the honey-garlic flavor, even have savory elements. The bakery also sells cookies, macarons and canelés.\u003c/p>\n\u003cp>A&M’s first large pop-ups were at FoodieLand’s 2023 festival series, which spanned several cities including Sacramento, Berkeley and San Mateo. Now, the bakery’s busiest events of the year are SJMade’s November Holiday Fair and its Winter Wonder Market in December. “The first year, we brought 600 and sold out within three hours,” Pham says of the holiday fair. “Then, the second year we brought 800 and sold out by 2 p.m.” This year, they scaled up to 1,500 egg tarts for each day of the two-day event, which required an entire month of prep time. The most time-consuming component is the multi-layered puff pastry, which takes hours to assemble.\u003c/p>\n\u003cfigure id=\"attachment_13984903\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984903\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM.jpg\" alt=\"Long line of customers waiting to buy egg tarts. A large banner overhead shows the different flavors available. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A long line of customers waiting to order at one of A&M’s pop-ups. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During my visit to the A&M booth at last month’s SJMade Holiday Fair, I split a six-pack of egg tarts with my fiancée, my cousin and his girlfriend. After each bite, there was an audible “mmm” from each member of the party. We loved the classic egg tart custard’s glassy surface and creamy, light interior. My favorite was the yuzu egg tart, which had an intense acidity to balance the butteriness of the crust and strips of candied yuzu peel to mellow out the experience. A close second was the seasonal pistachio egg tart with chunks of pistachio on top for some crunch. Each person in the group had their own favorite.\u003c/p>\n\u003cp>The bakery’s next step will be to experiment with savory egg tarts that have a quiche-like filling. Pham plans to introduce these to the menu once he figures out a way to bring an oven into their pop-up space, so he can serve them warm. He and Ngo are also constantly improving their existing flavors — the matcha egg tart is being upgraded to matcha mochi, and the s’mores tart will soon incorporate homemade marshmallow. The pop-up’s next seasonal special is a salted egg yolk tart that’s scheduled to release around Lunar New Year.\u003c/p>\n\u003cp>“We have 18 flavors of egg tarts now,” says Pham. “I can say confidently we’re the only ones offering that many flavors.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/a.m.patisserie/\">\u003ci>A&M Pâtisserie\u003c/i>\u003c/a>\u003ci> pops up at events around the Bay. The next pop-up is at the \u003c/i>\u003ca href=\"https://www.sanjosemade.com/pages/winter-wonder-market-2025\">\u003ci>SJ Made Winter Wonder Market\u003c/i>\u003c/a>\u003ci> at South Hall (435 S. Market St., San José) on Dec. 13–14, 11 a.m.–6 p.m.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A&M Pâtisserie's pastries draw inspiration from Cuban guava strudels and Korean cheese corn.",
"status": "publish",
"parent": 0,
"modified": 1765499877,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 1114
},
"headData": {
"title": "This San José Pop-Up Bakery Sells 18 Different Varieties of Egg Tarts | KQED",
"description": "A&M Pâtisserie's pastries draw inspiration from Cuban guava strudels and Korean cheese corn.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "This San José Pop-Up Bakery Sells 18 Different Varieties of Egg Tarts",
"datePublished": "2025-12-11T16:19:43-08:00",
"dateModified": "2025-12-11T16:37:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 12276,
"slug": "food",
"name": "Food"
},
"source": "Food",
"sourceUrl": "https://www.kqed.org/food",
"sticky": false,
"nprStoryId": "kqed-13984898",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13984898/egg-tarts-san-jose-pop-up-bakery-a-m-patisserie-pastel-de-nata",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You might imagine that most egg tarts are relatively indistinguishable, with their pastry cups and plain, sunglow-colored custard filling. You wouldn’t necessarily expect the treats to get remixed into dozens of different flavors.\u003c/p>\n\u003cp>That hasn’t stopped \u003ca href=\"https://www.instagram.com/a.m.patisserie\">A&M Pâtisserie\u003c/a>. The San José–based bakery pop-up sells a whopping eighteen different egg tart flavors, many of them inspired by various Asian cuisines. At a makers’ market at the Santa Clara Convention Center in November, a perpetual line of at least fifty customers swarmed the A&M booth for hours, everyone scanning the banner menu to decide which of the palm-sized egg tarts to order. A wide range of unconventional toppings included things like toasted marshmallows, flame-kissed corn kernels, \u003ca href=\"https://www.epicurious.com/recipes/food/views/milk-crumb-382321\">milk crumbs\u003c/a> and caramelized banana slices.\u003c/p>\n\u003cp>Alice Ngo and Minh Pham first started making egg tarts at home during the COVID lockdown. “We got laid off and had nothing to do,” says Pham. “Alice got bored and started baking.”\u003c/p>\n\u003cp>Ngo taught herself how to make Portuguese egg tarts (aka pastéis de nata) by watching YouTube videos. After getting positive feedback from friends and family, the couple started selling the pastries to the public through Instagram and Facebook.\u003c/p>\n\u003cfigure id=\"attachment_13984906\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984906\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham.jpg\" alt=\"An Asian woman and man in matching black hooded sweatshirts.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A&M founders Alice Ngo (left) and Minh Pham. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I wasn’t a baker, I was a cook,” says Pham. “But I enjoy pastries since I was born in France.”\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>He moved to the United States in 2016 to pursue a tech career, but decided against working a desk job. Instead, he started working in restaurants and took cooking classes through the hospitality management program at Mission College. These days, Pham is the primary egg tart producer, juggling the pop-up with his day job as a baker at Alexander’s Patisserie. Meanwhile, Ngo uses her experience working at a hotel to handle the pop-up’s front-of-house operations and customer service.\u003c/p>\n\u003cp>The defining characteristic of a Portuguese-style egg tart is the custard filling’s blistered, caramelized top, which sets it apart from both British egg tarts and Cantonese \u003ca href=\"https://www.seriouseats.com/daan-tat-hong-kong-style-egg-tart-5208534\">dan tat\u003c/a> — the popular dim sum dish that is probably the best-known egg tart variation here in the Bay Area. Meanwhile, Macau, a former Portuguese territory, is known for egg tarts with a scorched custard that’s eggier and less sweet than pastel de nata. The distinctions between the styles have blurred over time, but originally British custard tarts used a shortbread crust and the others were made with puff pastry.\u003c/p>\n\u003cfigure id=\"attachment_13984904\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984904\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case.jpg\" alt=\"Display case with 18 different varieties of egg tarts.\" width=\"2000\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case-768x355.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case-1536x710.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">All 18 flavors in the display case at an A&M pop-up event in November 2025. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ngo and Pham eventually shifted away from the traditional pastel de nata because they wanted their egg tarts to be lighter and less sweet. They make the puff pastry shell extra-crispy and flaky to complement their creamy custards.\u003c/p>\n\u003cp>“I wanted something in between so I took the best of both and created my own,” says Pham. “It’s not Macau. It’s not Portuguese. It’s A&M’s.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13983625,arts_13984330,arts_13981935",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>But the biggest thing that sets A&M Pâtisserie’s egg tarts apart is the sheer variety of flavors. The menu is ever growing as the bakers draw inspiration from their favorite pastries and restaurant dishes. Their guava egg tart is modeled after the guava-and-cheese strudel at Porto’s, the legendary Los Angeles–based Cuban bakery. The corn cheese flavor was inspired by kon-chijeu, their favorite Korean banchan. A few of A&M’s egg tarts, like the honey-garlic flavor, even have savory elements. The bakery also sells cookies, macarons and canelés.\u003c/p>\n\u003cp>A&M’s first large pop-ups were at FoodieLand’s 2023 festival series, which spanned several cities including Sacramento, Berkeley and San Mateo. Now, the bakery’s busiest events of the year are SJMade’s November Holiday Fair and its Winter Wonder Market in December. “The first year, we brought 600 and sold out within three hours,” Pham says of the holiday fair. “Then, the second year we brought 800 and sold out by 2 p.m.” This year, they scaled up to 1,500 egg tarts for each day of the two-day event, which required an entire month of prep time. The most time-consuming component is the multi-layered puff pastry, which takes hours to assemble.\u003c/p>\n\u003cfigure id=\"attachment_13984903\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984903\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM.jpg\" alt=\"Long line of customers waiting to buy egg tarts. A large banner overhead shows the different flavors available. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A long line of customers waiting to order at one of A&M’s pop-ups. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During my visit to the A&M booth at last month’s SJMade Holiday Fair, I split a six-pack of egg tarts with my fiancée, my cousin and his girlfriend. After each bite, there was an audible “mmm” from each member of the party. We loved the classic egg tart custard’s glassy surface and creamy, light interior. My favorite was the yuzu egg tart, which had an intense acidity to balance the butteriness of the crust and strips of candied yuzu peel to mellow out the experience. A close second was the seasonal pistachio egg tart with chunks of pistachio on top for some crunch. Each person in the group had their own favorite.\u003c/p>\n\u003cp>The bakery’s next step will be to experiment with savory egg tarts that have a quiche-like filling. Pham plans to introduce these to the menu once he figures out a way to bring an oven into their pop-up space, so he can serve them warm. He and Ngo are also constantly improving their existing flavors — the matcha egg tart is being upgraded to matcha mochi, and the s’mores tart will soon incorporate homemade marshmallow. The pop-up’s next seasonal special is a salted egg yolk tart that’s scheduled to release around Lunar New Year.\u003c/p>\n\u003cp>“We have 18 flavors of egg tarts now,” says Pham. “I can say confidently we’re the only ones offering that many flavors.”\u003c/p>\n\u003chr>\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>\u003ca href=\"https://www.instagram.com/a.m.patisserie/\">\u003ci>A&M Pâtisserie\u003c/i>\u003c/a>\u003ci> pops up at events around the Bay. The next pop-up is at the \u003c/i>\u003ca href=\"https://www.sanjosemade.com/pages/winter-wonder-market-2025\">\u003ci>SJ Made Winter Wonder Market\u003c/i>\u003c/a>\u003ci> at South Hall (435 S. Market St., San José) on Dec. 13–14, 11 a.m.–6 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13984898/egg-tarts-san-jose-pop-up-bakery-a-m-patisserie-pastel-de-nata",
"authors": [
"11903"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_12276"
],
"tags": [
"arts_21727",
"arts_22144",
"arts_10278",
"arts_1297",
"arts_14089",
"arts_1084"
],
"featImg": "arts_13984905",
"label": "source_arts_13984898"
},
"arts_13984868": {
"type": "posts",
"id": "arts_13984868",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13984868",
"score": null,
"sort": [
1765492359000
]
},
"guestAuthors": [],
"slug": "goodbye-june-movie-review-kate-winslet-joe-anders-family-drama",
"title": "Helen Mirren Leads a Distinguished Cast in Touching Family Drama, ‘Goodbye June’",
"publishDate": 1765492359,
"format": "standard",
"headTitle": "Helen Mirren Leads a Distinguished Cast in Touching Family Drama, ‘Goodbye June’ | KQED",
"labelTerm": {},
"content": "\u003cp>Kate Winslet is due a very thoughtful Christmas gift this year. The veteran actor made a pretty extraordinary maternal gesture, directing, producing and starring in a film her son, Joe Anders, wrote, \u003cem>Goodbye June\u003c/em>, which is in limited release this weekend and streaming on Netflix Dec. 24.\u003c/p>\n\u003cp>While it might be worth pointing out that the script originated in a screenwriting class, there will be no nepo baby jokes here. Put alongside most of the Christmas offerings on Netflix, which seem to veer more toward the secret princess/fantasy/romance side of things, and aren’t even attempting to be, well, very good, \u003cem>Goodbye June\u003c/em> is an admirably solid, if generic, drama about family and death with a very distinguished cast.\u003c/p>\n\u003cp>[aside postid='arts_13984386']Terminal illness, estranged adult siblings and hospital rooms are certainly not going to be everyone’s cup of tea around the holidays, but you probably already know by this point whether this is an experience you want to sign up for. It remains a mystery why so many holiday movies feel the need to include a dying mother. Perhaps it’s because, from an emotional standpoint, it rarely misses.\u003c/p>\n\u003cp>Unlike, say \u003cem>The Family Stone\u003c/em> however, \u003cem>Goodbye June\u003c/em> actually places the audience in that most unpleasant of settings: The hospital. It begins with a nightmare scenario, with the elderly mother, June (Helen Mirren) collapsing as the kettle cries out on the stove. Her grown son Connor (Johnny Flynn) finds her, collects his father Bernie (Timothy Spall), and they race off to the hospital, forgetting to turn off the tap in the sink before they leave. \u003cem>Goodbye June\u003c/em> has an eye for the mundane details that make up everyday life that all seem so small in the face of loss.\u003c/p>\n\u003cp>Soon, they’re greeted by the rest of June and Bernie’s daughters, Julia (Winslet), a successful, busy and exhausted mom of three; Molly (Andrea Riseborough), a hippie mom of many who resents Julia and can’t accept that her mother is dying; and Helen (Toni Collette), who likes crystals. The four grown children are wildly unprepared to deal with their mother’s decline. Molly, perhaps the most baffling character, shoos away the palliative care workers, insisting on taking June home immediately.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>June, calmly telling her kids that she would rather stay in the hospital than go home, is a balm in all of the craziness. At least one person is ready to face it all head on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vIDoYSWCuzQ\u003c/p>\n\u003cp>Certainly this is a story about how so many people aren’t ready to deal with the one inevitability in life, and how imminent grief affects everyone differently. But the script doesn’t do a character like Molly many favors. Her smug rejection of reality borders on annoying and the eventual explanation of why she’s been estranged from Julia for so many years doesn’t help.\u003c/p>\n\u003cp>[aside postid='arts_13984241']Winslet, making her feature directorial debut, isn’t doing anything flashy here, with stylish choices or long takes, like Anders’ father Sam Mendes might. She shoots it simply, which is fitting for the story. This is a piece about characters and Winslet gives her actors space to build people that by and large feel pretty real — the standouts are really Flynn, as the sensitive son still living at home and closest to his parents, and Spall, believably oblivious in that charmingly British way.\u003c/p>\n\u003cp>The story progresses in mostly expected ways, with each child getting their own moment with mom before the end. Aside from several questionable choices to make the audience wonder whether or not June has died, and a nurse character named Angel (Fisayo Akinade), \u003cem>Goodbye June\u003c/em> does also have moments of grace, humor and insight.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Goodbye June’ is playing at the Landmark Opera Plaza Cinema (601 Van Ness Ave.) in San Francisco from Dec. 12, and begins streaming on Netflix on Dec. 24, 2025.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Kate Winslet directs, produces and stars in a film her son, Joe Anders, wrote.",
"status": "publish",
"parent": 0,
"modified": 1765492417,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 671
},
"headData": {
"title": "Movie Review: Kate Winslet’s ‘Goodbye June’ | KQED",
"description": "Kate Winslet directs, produces and stars in a film her son, Joe Anders, wrote.",
"ogTitle": "Helen Mirren Leads a Distinguished Cast in Family Drama, ‘Goodbye June’",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Helen Mirren Leads a Distinguished Cast in Family Drama, ‘Goodbye June’",
"twDescription": "",
"twImgId": "",
"socialTitle": "Movie Review: Kate Winslet’s ‘Goodbye June’ %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Helen Mirren Leads a Distinguished Cast in Touching Family Drama, ‘Goodbye June’",
"datePublished": "2025-12-11T14:32:39-08:00",
"dateModified": "2025-12-11T14:33:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 74,
"slug": "movies",
"name": "Movies"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprByline": "Lindsey Bahr, Associated Press",
"nprStoryId": "kqed-13984868",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13984868/goodbye-june-movie-review-kate-winslet-joe-anders-family-drama",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kate Winslet is due a very thoughtful Christmas gift this year. The veteran actor made a pretty extraordinary maternal gesture, directing, producing and starring in a film her son, Joe Anders, wrote, \u003cem>Goodbye June\u003c/em>, which is in limited release this weekend and streaming on Netflix Dec. 24.\u003c/p>\n\u003cp>While it might be worth pointing out that the script originated in a screenwriting class, there will be no nepo baby jokes here. Put alongside most of the Christmas offerings on Netflix, which seem to veer more toward the secret princess/fantasy/romance side of things, and aren’t even attempting to be, well, very good, \u003cem>Goodbye June\u003c/em> is an admirably solid, if generic, drama about family and death with a very distinguished cast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13984386",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Terminal illness, estranged adult siblings and hospital rooms are certainly not going to be everyone’s cup of tea around the holidays, but you probably already know by this point whether this is an experience you want to sign up for. It remains a mystery why so many holiday movies feel the need to include a dying mother. Perhaps it’s because, from an emotional standpoint, it rarely misses.\u003c/p>\n\u003cp>Unlike, say \u003cem>The Family Stone\u003c/em> however, \u003cem>Goodbye June\u003c/em> actually places the audience in that most unpleasant of settings: The hospital. It begins with a nightmare scenario, with the elderly mother, June (Helen Mirren) collapsing as the kettle cries out on the stove. Her grown son Connor (Johnny Flynn) finds her, collects his father Bernie (Timothy Spall), and they race off to the hospital, forgetting to turn off the tap in the sink before they leave. \u003cem>Goodbye June\u003c/em> has an eye for the mundane details that make up everyday life that all seem so small in the face of loss.\u003c/p>\n\u003cp>Soon, they’re greeted by the rest of June and Bernie’s daughters, Julia (Winslet), a successful, busy and exhausted mom of three; Molly (Andrea Riseborough), a hippie mom of many who resents Julia and can’t accept that her mother is dying; and Helen (Toni Collette), who likes crystals. The four grown children are wildly unprepared to deal with their mother’s decline. Molly, perhaps the most baffling character, shoos away the palliative care workers, insisting on taking June home immediately.\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>June, calmly telling her kids that she would rather stay in the hospital than go home, is a balm in all of the craziness. At least one person is ready to face it all head on.\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/vIDoYSWCuzQ'\n title='//www.youtube.com/embed/vIDoYSWCuzQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Certainly this is a story about how so many people aren’t ready to deal with the one inevitability in life, and how imminent grief affects everyone differently. But the script doesn’t do a character like Molly many favors. Her smug rejection of reality borders on annoying and the eventual explanation of why she’s been estranged from Julia for so many years doesn’t help.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13984241",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Winslet, making her feature directorial debut, isn’t doing anything flashy here, with stylish choices or long takes, like Anders’ father Sam Mendes might. She shoots it simply, which is fitting for the story. This is a piece about characters and Winslet gives her actors space to build people that by and large feel pretty real — the standouts are really Flynn, as the sensitive son still living at home and closest to his parents, and Spall, believably oblivious in that charmingly British way.\u003c/p>\n\u003cp>The story progresses in mostly expected ways, with each child getting their own moment with mom before the end. Aside from several questionable choices to make the audience wonder whether or not June has died, and a nurse character named Angel (Fisayo Akinade), \u003cem>Goodbye June\u003c/em> does also have moments of grace, humor and insight.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Goodbye June’ is playing at the Landmark Opera Plaza Cinema (601 Van Ness Ave.) in San Francisco from Dec. 12, and begins streaming on Netflix on Dec. 24, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13984868/goodbye-june-movie-review-kate-winslet-joe-anders-family-drama",
"authors": [
"byline_arts_13984868"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_75",
"arts_22313"
],
"tags": [
"arts_8905",
"arts_3324",
"arts_585"
],
"featImg": "arts_13984872",
"label": "source_arts_13984868"
},
"arts_13984739": {
"type": "posts",
"id": "arts_13984739",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13984739",
"score": null,
"sort": [
1765489697000
]
},
"guestAuthors": [],
"slug": "can-i-get-a-witness-poetry-open-mic-oakland",
"title": "'Can I Get A Witness?' Open Mic Creates Community Through Commentary",
"publishDate": 1765489697,
"format": "standard",
"headTitle": "‘Can I Get A Witness?’ Open Mic Creates Community Through Commentary | KQED",
"labelTerm": {},
"content": "\u003cp>\u003ca href=\"https://www.instagram.com/debbiedollas_/\">Deborah Marie\u003c/a> is a poet who works at the intersection of art and public health.\u003c/p>\n\u003cp>By day, she’s an advocate, focused on quelling substance abuse by assisting people with recovery and prevention. By night, she’s a multi-talented creative and the founder of the \u003ca href=\"https://www.instagram.com/canigetawitness.oak/\">Can I Get A Witness?\u003c/a> event series.\u003c/p>\n\u003cp>Just like any other open mic event, Can I Get A Witness? creates a space for people to creatively share their poetry and testimonies. But it adds a bit of a twist, as audience members are also asked to discuss how the art makes them \u003cem>feel\u003c/em>.\u003c/p>\n\u003cp>“After each poet,” explains Deborah Marie during a recent phone call, “we don’t just clap and move on to the next person. We open up the floor and ask questions to the audience.”\u003c/p>\n\u003cp>As the host, she prompts attendees to discuss what touched them, struck a chord or relates to a shared experience.\u003c/p>\n\u003cfigure id=\"attachment_13984792\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1.jpg\" alt=\"An African-American woman with shoulder-length locs and all black attire stands on a stage in an intimate room as she hosts and open mic event.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hayward’s Deborah Marie is the founder and host of the Can I Get A Witness? event series in Oakland. \u003ccite>(Diana Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Surrounded by crystals and incense, Deborah Marie starts the open mic with a warm welcome and then urges event-goers to listen closely to the performers. After each piece, guests can respond by using “I” statements and speaking from their own perspective.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’re not here to critique people’s work,” says Deborah Marie. Before the event even starts, she explains, community agreements are plainly stated on half-sheets of paper. The audience isn’t there to “problem solve.” Instead, she says, it’s about reflecting on people’s work and building community by way of sharing related experiences.\u003c/p>\n\u003cp>“It’s my idea of mixing live performance arts with peer support,” she says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The donation-based series is new, with only three events to date and a fourth one happening \u003ca href=\"https://partiful.com/e/vs2ek3lYc5sy2pWMRunu?source=share&utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnflleLPxktiwgWTBXCqSi4IGDAePVU00ifqogHjnhZvFtkYqxXYaBFVMHjr4_aem_ikRakmk8J2arQORPZRDD9Q\">this Sunday, Dec. 14\u003c/a> at \u003ca href=\"https://www.instagram.com/airtempleartspace/\">the Air Temple art gallery\u003c/a> in Oakland. But so far, Deborah Marie says, \u003c/span>\u003cspan style=\"font-weight: 400\">“i\u003c/span>\u003cspan style=\"font-weight: 400\">t’s been so magical,” adding that “it’s also been different each time.”\u003c/span>\u003c/p>\n\u003cp>At a past event, the discussion naturally flowed in and out of references to mental health and the media-fueled impossible standards that women — specifically Black women — face.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The conversation got to the point,” Deborah Marie recalls, “where someone just broke down crying.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Other audience members immediately supported that person and didn’t try to problem solve. Instead, they held space and allowed the person to open up about recently losing a friend to a mental health struggle. And that’s when Deborah Marie \u003c/span>\u003cspan style=\"font-weight: 400\">realized, “this is really something special if we can incubate this level of vulnerability in a performance space.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13984794\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-scaled.jpg\" alt=\"A woman kneels in the crowd as a performer recites a poem on stage during a live performance event. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Can I Get A Witness? host Deborah Marie squats low as a poet performs during a recent event at Mushin 2.0 in Oakland. \u003ccite>(Diana Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s an unexpected overlap between open mic events and sobriety-centered spaces, asserts Deborah Marie. There’s art, community and even support from those who’ve experienced similar things in life.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Conversely,\u003c/span> \u003cspan style=\"font-weight: 400\">Deborah Marie\u003c/span>\u003cspan style=\"font-weight: 400\"> says \u003ca href=\"https://www.kqed.org/news/tag/harm-reduction\">harm reduction\u003c/a> spaces, where people navigating addictions are guided toward safer methods of using, are “extremely clinical.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What harm reduction spaces and open mic circles are missing — but that sobriety centers or abstinence-based spaces often have — is social support. Through her work, Deborah Marie has seen the benefits of peer support groups and group outings. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Those social elements make a big difference in people’s quality of life,” says Deborah Marie, “whether you are or you aren’t using substances.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With that in mind, she asked herself, “How can we get a room full of people and give them that social support that you get when you choose abstinence? W\u003c/span>\u003cspan style=\"font-weight: 400\">ithout them having to choose abstinence.”\u003c/span>\u003c/p>\n\u003cp>She’s created a barrier-free event where people can share their work freely and be heard without being critiqued like they would be at, say, a writer’s salon. And, she adds, it’s not about the audience giving praise either. “That’s two sides of the same coin,” she says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ci>“\u003c/i>What we’re really aiming for,” Deborah Marie clarifies, explaining the flow of the event, “is like, you heard this [piece]. Now, how did it feel in your body? What did it bring up for you?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a room for the writers and a lounge for the listeners. A home for healers and a house for those seeking healing. There’s poetry for the people and commentary that creates community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And ultimately, Deborah Marie says, it’s an opportunity for us to \u003c/span>\u003cspan style=\"font-weight: 400\">ingest art, quiet the internal dialogue of critique and really delve into our own experiences while being around others.\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The next installment of the Can I Get A Witness? open mic series happens from 5 p.m. until 8 p.m. on Sunday, Dec. 14, at the Air Temple art gallery in Oakland (236 2nd St.). \u003ca href=\"https://partiful.com/e/vs2ek3lYc5sy2pWMRunu?source=share&utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnflleLPxktiwgWTBXCqSi4IGDAePVU00ifqogHjnhZvFtkYqxXYaBFVMHjr4_aem_ikRakmk8J2arQORPZRDD9Q\">RSVP here.\u003c/a> \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "By creatively sharing testimonies, artists are finding their people at this new open mic. ",
"status": "publish",
"parent": 0,
"modified": 1765497215,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 24,
"wordCount": 883
},
"headData": {
"title": "'Can I Get A Witness?' Open Mic Creates Community Through Commentary | KQED",
"description": "By creatively sharing testimonies, artists are finding their people at this new open mic. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Can I Get A Witness?' Open Mic Creates Community Through Commentary",
"datePublished": "2025-12-11T13:48:17-08:00",
"dateModified": "2025-12-11T15:53:35-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13984739",
"templateType": "standard",
"featuredImageType": "standard",
"subhead": "At the intersection of public health and creative arts is event host Deborah Marie",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13984739/can-i-get-a-witness-poetry-open-mic-oakland",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/debbiedollas_/\">Deborah Marie\u003c/a> is a poet who works at the intersection of art and public health.\u003c/p>\n\u003cp>By day, she’s an advocate, focused on quelling substance abuse by assisting people with recovery and prevention. By night, she’s a multi-talented creative and the founder of the \u003ca href=\"https://www.instagram.com/canigetawitness.oak/\">Can I Get A Witness?\u003c/a> event series.\u003c/p>\n\u003cp>Just like any other open mic event, Can I Get A Witness? creates a space for people to creatively share their poetry and testimonies. But it adds a bit of a twist, as audience members are also asked to discuss how the art makes them \u003cem>feel\u003c/em>.\u003c/p>\n\u003cp>“After each poet,” explains Deborah Marie during a recent phone call, “we don’t just clap and move on to the next person. We open up the floor and ask questions to the audience.”\u003c/p>\n\u003cp>As the host, she prompts attendees to discuss what touched them, struck a chord or relates to a shared experience.\u003c/p>\n\u003cfigure id=\"attachment_13984792\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1.jpg\" alt=\"An African-American woman with shoulder-length locs and all black attire stands on a stage in an intimate room as she hosts and open mic event.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hayward’s Deborah Marie is the founder and host of the Can I Get A Witness? event series in Oakland. \u003ccite>(Diana Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Surrounded by crystals and incense, Deborah Marie starts the open mic with a warm welcome and then urges event-goers to listen closely to the performers. After each piece, guests can respond by using “I” statements and speaking from their own perspective.\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>“We’re not here to critique people’s work,” says Deborah Marie. Before the event even starts, she explains, community agreements are plainly stated on half-sheets of paper. The audience isn’t there to “problem solve.” Instead, she says, it’s about reflecting on people’s work and building community by way of sharing related experiences.\u003c/p>\n\u003cp>“It’s my idea of mixing live performance arts with peer support,” she says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The donation-based series is new, with only three events to date and a fourth one happening \u003ca href=\"https://partiful.com/e/vs2ek3lYc5sy2pWMRunu?source=share&utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnflleLPxktiwgWTBXCqSi4IGDAePVU00ifqogHjnhZvFtkYqxXYaBFVMHjr4_aem_ikRakmk8J2arQORPZRDD9Q\">this Sunday, Dec. 14\u003c/a> at \u003ca href=\"https://www.instagram.com/airtempleartspace/\">the Air Temple art gallery\u003c/a> in Oakland. But so far, Deborah Marie says, \u003c/span>\u003cspan style=\"font-weight: 400\">“i\u003c/span>\u003cspan style=\"font-weight: 400\">t’s been so magical,” adding that “it’s also been different each time.”\u003c/span>\u003c/p>\n\u003cp>At a past event, the discussion naturally flowed in and out of references to mental health and the media-fueled impossible standards that women — specifically Black women — face.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The conversation got to the point,” Deborah Marie recalls, “where someone just broke down crying.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Other audience members immediately supported that person and didn’t try to problem solve. Instead, they held space and allowed the person to open up about recently losing a friend to a mental health struggle. And that’s when Deborah Marie \u003c/span>\u003cspan style=\"font-weight: 400\">realized, “this is really something special if we can incubate this level of vulnerability in a performance space.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13984794\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-scaled.jpg\" alt=\"A woman kneels in the crowd as a performer recites a poem on stage during a live performance event. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Can I Get A Witness? host Deborah Marie squats low as a poet performs during a recent event at Mushin 2.0 in Oakland. \u003ccite>(Diana Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s an unexpected overlap between open mic events and sobriety-centered spaces, asserts Deborah Marie. There’s art, community and even support from those who’ve experienced similar things in life.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Conversely,\u003c/span> \u003cspan style=\"font-weight: 400\">Deborah Marie\u003c/span>\u003cspan style=\"font-weight: 400\"> says \u003ca href=\"https://www.kqed.org/news/tag/harm-reduction\">harm reduction\u003c/a> spaces, where people navigating addictions are guided toward safer methods of using, are “extremely clinical.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What harm reduction spaces and open mic circles are missing — but that sobriety centers or abstinence-based spaces often have — is social support. Through her work, Deborah Marie has seen the benefits of peer support groups and group outings. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Those social elements make a big difference in people’s quality of life,” says Deborah Marie, “whether you are or you aren’t using substances.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With that in mind, she asked herself, “How can we get a room full of people and give them that social support that you get when you choose abstinence? W\u003c/span>\u003cspan style=\"font-weight: 400\">ithout them having to choose abstinence.”\u003c/span>\u003c/p>\n\u003cp>She’s created a barrier-free event where people can share their work freely and be heard without being critiqued like they would be at, say, a writer’s salon. And, she adds, it’s not about the audience giving praise either. “That’s two sides of the same coin,” she says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ci>“\u003c/i>What we’re really aiming for,” Deborah Marie clarifies, explaining the flow of the event, “is like, you heard this [piece]. Now, how did it feel in your body? What did it bring up for you?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a room for the writers and a lounge for the listeners. A home for healers and a house for those seeking healing. There’s poetry for the people and commentary that creates community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And ultimately, Deborah Marie says, it’s an opportunity for us to \u003c/span>\u003cspan style=\"font-weight: 400\">ingest art, quiet the internal dialogue of critique and really delve into our own experiences while being around others.\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The next installment of the Can I Get A Witness? open mic series happens from 5 p.m. until 8 p.m. on Sunday, Dec. 14, at the Air Temple art gallery in Oakland (236 2nd St.). \u003ca href=\"https://partiful.com/e/vs2ek3lYc5sy2pWMRunu?source=share&utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnflleLPxktiwgWTBXCqSi4IGDAePVU00ifqogHjnhZvFtkYqxXYaBFVMHjr4_aem_ikRakmk8J2arQORPZRDD9Q\">RSVP here.\u003c/a> \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13984739/can-i-get-a-witness-poetry-open-mic-oakland",
"authors": [
"11491"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_22313"
],
"tags": [
"arts_10278",
"arts_1143",
"arts_1496",
"arts_585"
],
"featImg": "arts_13984796",
"label": "source_arts_13984739"
},
"arts_13984850": {
"type": "posts",
"id": "arts_13984850",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13984850",
"score": null,
"sort": [
1765489537000
]
},
"guestAuthors": [],
"slug": "drag-story-hour-celebrates-10-years-at-san-francisco-public-library",
"title": "Drag Story Hour Celebrates 10 Years at San Francisco Public Library",
"publishDate": 1765489537,
"format": "standard",
"headTitle": "Drag Story Hour Celebrates 10 Years at San Francisco Public Library | KQED",
"labelTerm": {},
"content": "\u003cp>It’s time to break out the glitter and grab your favorite picture book — Dec. 12 is now officially \u003ca href=\"https://www.dragstoryhour.org/\">Drag Story Hour\u003c/a> Day in San Francisco. Earlier this week, the San Francisco Board of Supervisors passed a resolution to recognize the literacy program, which started 10 years ago at the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-public-library\">San Francisco Public Library\u003c/a> (SFPL).\u003c/p>\n\u003cp>“Drag Story Hour creates space for queer role models in children’s stories and teaches kids that authenticity and individuality should be celebrated,” said Supervisor Rafael Mandelman at the Dec. 9 meeting. [aside postid='arts_13984523']\u003c/p>\n\u003cp>Founded by author Michelle Tea and Radar Productions, with support from fellow writers Julián Delgado Lopera and Virgie Tovar, Drag Story Hour invites drag performers to read to children at libraries, bookstores and schools around the world. San Francisco’s Per Sia read at the first-ever Drag Story Hour at Harvey Milk Memorial branch of the SFPL in 2015. Since then, the program has expanded to 30 chapters around the U.S. as well as Japan, Mexico and several other countries.\u003c/p>\n\u003cp>On Dec. 14, SFPL will celebrate Drag Story Hour at its main branch with a family-friendly day of festivities and readings with drag queens, kings and royals, including Per Sia. An after-school arts educator by day, Per Sia was recently \u003ca href=\"https://www.kqed.org/arts/13983135/per-sia-san-francisco-new-drag-laureate\">named San Francisco Drag Laureate\u003c/a>.\u003c/p>\n\u003cp>“A lot of amazing queer things have come out of San Francisco, Drag Story Hour being one of them,” Per Sia told KQED in October.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Drag Story Hour’s success has come in spite of right wing attacks, including from Proud Boys, who stormed a 2022 Drag Story Hour at the San Lorenzo Public Library and shouted slurs at performer Panda Dulce. (Dulce has since told her story in a \u003ca href=\"https://www.kqed.org/news/12046470/her-drag-story-hour-was-interrupted-by-the-proud-boys-no-one-was-held-accountable\">short film about the aftermath of the ordeal\u003c/a>.) Amid a rise in anti-LGBTQ+ legislation, Montana and Tennessee passed bills to ban drag performances in front of children, but legal challenges have blocked the laws’ enforcement.\u003c/p>\n\u003cp>“It’s still so important to not just highlight the program because, you know, literacy, children,” Per Sia said, “but also highlight queer joy and all the things that people say are wrong with us, which are not [wrong].”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sfpl.org/releases/2025/12/05/drag-story-hour-celebrates-10-years-stories-glitter-and-community\">Drag Story Hour celebrates 10 years\u003c/a> at San Francisco Public Library on Dec. 14, 12–5 p.m.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The literacy program led by drag artists has expanded to 30 chapters worldwide. ",
"status": "publish",
"parent": 0,
"modified": 1765489537,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 402
},
"headData": {
"title": "Drag Story Hour Celebrates 10 Years at San Francisco Public Library | KQED",
"description": "The literacy program led by drag artists has expanded to 30 chapters worldwide. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Drag Story Hour Celebrates 10 Years at San Francisco Public Library",
"datePublished": "2025-12-11T13:45:37-08:00",
"dateModified": "2025-12-11T13:45:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13984850",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13984850/drag-story-hour-celebrates-10-years-at-san-francisco-public-library",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time to break out the glitter and grab your favorite picture book — Dec. 12 is now officially \u003ca href=\"https://www.dragstoryhour.org/\">Drag Story Hour\u003c/a> Day in San Francisco. Earlier this week, the San Francisco Board of Supervisors passed a resolution to recognize the literacy program, which started 10 years ago at the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-public-library\">San Francisco Public Library\u003c/a> (SFPL).\u003c/p>\n\u003cp>“Drag Story Hour creates space for queer role models in children’s stories and teaches kids that authenticity and individuality should be celebrated,” said Supervisor Rafael Mandelman at the Dec. 9 meeting. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13984523",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Founded by author Michelle Tea and Radar Productions, with support from fellow writers Julián Delgado Lopera and Virgie Tovar, Drag Story Hour invites drag performers to read to children at libraries, bookstores and schools around the world. San Francisco’s Per Sia read at the first-ever Drag Story Hour at Harvey Milk Memorial branch of the SFPL in 2015. Since then, the program has expanded to 30 chapters around the U.S. as well as Japan, Mexico and several other countries.\u003c/p>\n\u003cp>On Dec. 14, SFPL will celebrate Drag Story Hour at its main branch with a family-friendly day of festivities and readings with drag queens, kings and royals, including Per Sia. An after-school arts educator by day, Per Sia was recently \u003ca href=\"https://www.kqed.org/arts/13983135/per-sia-san-francisco-new-drag-laureate\">named San Francisco Drag Laureate\u003c/a>.\u003c/p>\n\u003cp>“A lot of amazing queer things have come out of San Francisco, Drag Story Hour being one of them,” Per Sia told KQED in October.\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>Drag Story Hour’s success has come in spite of right wing attacks, including from Proud Boys, who stormed a 2022 Drag Story Hour at the San Lorenzo Public Library and shouted slurs at performer Panda Dulce. (Dulce has since told her story in a \u003ca href=\"https://www.kqed.org/news/12046470/her-drag-story-hour-was-interrupted-by-the-proud-boys-no-one-was-held-accountable\">short film about the aftermath of the ordeal\u003c/a>.) Amid a rise in anti-LGBTQ+ legislation, Montana and Tennessee passed bills to ban drag performances in front of children, but legal challenges have blocked the laws’ enforcement.\u003c/p>\n\u003cp>“It’s still so important to not just highlight the program because, you know, literacy, children,” Per Sia said, “but also highlight queer joy and all the things that people say are wrong with us, which are not [wrong].”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sfpl.org/releases/2025/12/05/drag-story-hour-celebrates-10-years-stories-glitter-and-community\">Drag Story Hour celebrates 10 years\u003c/a> at San Francisco Public Library on Dec. 14, 12–5 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13984850/drag-story-hour-celebrates-10-years-at-san-francisco-public-library",
"authors": [
"11387"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_22313",
"arts_967"
],
"tags": [
"arts_1556",
"arts_22470",
"arts_10278",
"arts_3573"
],
"featImg": "arts_13984853",
"label": "source_arts_13984850"
}
},
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA",
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1MDAyODE4NTgz",
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9zZXJpZXMvamVycnlicm93bi9mZWVkL3BvZGNhc3Qv"
}
},
"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",
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
"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",
"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/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vc29sZG91dA"
}
},
"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": "",
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM4MjU5Nzg2MzI3",
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM0NTcwODQ2MjY2",
"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": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/?program=the-do-list&queryId=16fed56f278": {
"isFetching": false,
"latestQuery": {
"from": 0,
"postsToRender": 10
},
"tag": null,
"vitalsOnly": true,
"totalRequested": 10,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3364,
"relation": "eq"
},
"items": [
"arts_13985020",
"arts_13985007",
"arts_13984991",
"arts_13984961",
"arts_13984267",
"arts_13984414",
"arts_13984898",
"arts_13984868",
"arts_13984739",
"arts_13984850"
]
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"pfsSessionReducer": {},
"subscriptionsReducer": {},
"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"
},
"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"
},
"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"
},
"source_arts_13985020": {
"type": "terms",
"id": "source_arts_13985020",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13984991": {
"type": "terms",
"id": "source_arts_13984991",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13984961": {
"type": "terms",
"id": "source_arts_13984961",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13984267": {
"type": "terms",
"id": "source_arts_13984267",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13984414": {
"type": "terms",
"id": "source_arts_13984414",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13984898": {
"type": "terms",
"id": "source_arts_13984898",
"meta": {
"override": true
},
"name": "Food",
"link": "https://www.kqed.org/food",
"isLoading": false
},
"source_arts_13984868": {
"type": "terms",
"id": "source_arts_13984868",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13984739": {
"type": "terms",
"id": "source_arts_13984739",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13984850": {
"type": "terms",
"id": "source_arts_13984850",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_22313": {
"type": "terms",
"id": "arts_22313",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22313",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "The Do List | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22325,
"isLoading": false,
"link": "/arts/category/the-do-list"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_5087": {
"type": "terms",
"id": "arts_5087",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5087",
"found": true
},
"relationships": {},
"featImg": null,
"name": "horror",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "horror Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5099,
"slug": "horror",
"isLoading": false,
"link": "/arts/tag/horror"
},
"arts_22343": {
"type": "terms",
"id": "arts_22343",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22343",
"found": true
},
"relationships": {},
"name": "horror films",
"slug": "horror-films",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "horror films | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22355,
"isLoading": false,
"link": "/arts/tag/horror-films"
},
"arts_3465": {
"type": "terms",
"id": "arts_3465",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3465",
"found": true
},
"relationships": {},
"featImg": null,
"name": "movies",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3477,
"slug": "movies",
"isLoading": false,
"link": "/arts/tag/movies"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_11718": {
"type": "terms",
"id": "arts_11718",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11718",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thriller",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thriller Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11730,
"slug": "thriller",
"isLoading": false,
"link": "/arts/tag/thriller"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"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": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_1674": {
"type": "terms",
"id": "arts_1674",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1674",
"found": true
},
"relationships": {},
"featImg": null,
"name": "roe v. wade",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "roe v. wade Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1686,
"slug": "roe-v-wade",
"isLoading": false,
"link": "/arts/tag/roe-v-wade"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_4330": {
"type": "terms",
"id": "arts_4330",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4330",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sex work",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sex work Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4342,
"slug": "sex-work",
"isLoading": false,
"link": "/arts/tag/sex-work"
},
"arts_1871": {
"type": "terms",
"id": "arts_1871",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1871",
"found": true
},
"relationships": {},
"featImg": null,
"name": "standup comedy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "standup comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1883,
"slug": "standup-comedy",
"isLoading": false,
"link": "/arts/tag/standup-comedy"
},
"arts_21859": {
"type": "terms",
"id": "arts_21859",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21859",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21871,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/interest/san-francisco"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_1270": {
"type": "terms",
"id": "arts_1270",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1270",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1282,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/tag/berkeley"
},
"arts_1420": {
"type": "terms",
"id": "arts_1420",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1420",
"found": true
},
"relationships": {},
"featImg": null,
"name": "jazz",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "jazz Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1432,
"slug": "jazz",
"isLoading": false,
"link": "/arts/tag/jazz"
},
"arts_21872": {
"type": "terms",
"id": "arts_21872",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21872",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21884,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/interest/berkeley"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"arts_2640": {
"type": "terms",
"id": "arts_2640",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2640",
"found": true
},
"relationships": {},
"featImg": null,
"name": "history",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "history Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2652,
"slug": "history",
"isLoading": false,
"link": "/arts/tag/history"
},
"arts_22296": {
"type": "terms",
"id": "arts_22296",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22296",
"found": true
},
"relationships": {},
"name": "nonfiction",
"slug": "nonfiction",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "nonfiction | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22308,
"isLoading": false,
"link": "/arts/tag/nonfiction"
},
"arts_12276": {
"type": "terms",
"id": "arts_12276",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12276",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Food",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Explore the Bay Area culinary scene through KQED's food stories, recipes, dining experiences, and stories from the diverse tastemakers that define the Bay's cuisines.",
"title": "Bay Area Food Archives, Articles, News, and Reviews | KQED",
"ogDescription": null
},
"ttid": 12288,
"slug": "food",
"isLoading": false,
"link": "/arts/category/food"
},
"arts_21727": {
"type": "terms",
"id": "arts_21727",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21727",
"found": true
},
"relationships": {},
"featImg": null,
"name": "chinese food",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "chinese food Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21739,
"slug": "chinese-food",
"isLoading": false,
"link": "/arts/tag/chinese-food"
},
"arts_22144": {
"type": "terms",
"id": "arts_22144",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22144",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dessert",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "dessert Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22156,
"slug": "dessert",
"isLoading": false,
"link": "/arts/tag/dessert"
},
"arts_1297": {
"type": "terms",
"id": "arts_1297",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1297",
"found": true
},
"relationships": {},
"featImg": null,
"name": "food",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "food Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1309,
"slug": "food",
"isLoading": false,
"link": "/arts/tag/food"
},
"arts_14089": {
"type": "terms",
"id": "arts_14089",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "14089",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop-up",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop-up Archives | KQED Arts",
"ogDescription": null
},
"ttid": 14101,
"slug": "pop-up",
"isLoading": false,
"link": "/arts/tag/pop-up"
},
"arts_1084": {
"type": "terms",
"id": "arts_1084",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1084",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Jose",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Jose Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1101,
"slug": "san-jose",
"isLoading": false,
"link": "/arts/tag/san-jose"
},
"arts_21865": {
"type": "terms",
"id": "arts_21865",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21865",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Food and Drink",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Food and Drink Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21877,
"slug": "food-and-drink",
"isLoading": false,
"link": "/arts/interest/food-and-drink"
},
"arts_21861": {
"type": "terms",
"id": "arts_21861",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21861",
"found": true
},
"relationships": {},
"featImg": null,
"name": "South Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "South Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21873,
"slug": "south-bay",
"isLoading": false,
"link": "/arts/interest/south-bay"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_8905": {
"type": "terms",
"id": "arts_8905",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8905",
"found": true
},
"relationships": {},
"featImg": null,
"name": "drama",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "drama Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8917,
"slug": "drama",
"isLoading": false,
"link": "/arts/tag/drama"
},
"arts_3324": {
"type": "terms",
"id": "arts_3324",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3324",
"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": 3336,
"slug": "netflix",
"isLoading": false,
"link": "/arts/tag/netflix"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_1496": {
"type": "terms",
"id": "arts_1496",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1496",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Poetry",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Poetry Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1508,
"slug": "poetry",
"isLoading": false,
"link": "/arts/tag/poetry"
},
"arts_21860": {
"type": "terms",
"id": "arts_21860",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21860",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21872,
"slug": "oakland",
"isLoading": false,
"link": "/arts/interest/oakland"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_1556": {
"type": "terms",
"id": "arts_1556",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1556",
"found": true
},
"relationships": {},
"featImg": null,
"name": "drag",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "drag Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1568,
"slug": "drag",
"isLoading": false,
"link": "/arts/tag/drag"
},
"arts_22470": {
"type": "terms",
"id": "arts_22470",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22470",
"found": true
},
"relationships": {},
"name": "drag queen story hour",
"slug": "drag-queen-story-hour",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "drag queen story hour | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22482,
"isLoading": false,
"link": "/arts/tag/drag-queen-story-hour"
},
"arts_3573": {
"type": "terms",
"id": "arts_3573",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3573",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco Public Library",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Public Library Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3585,
"slug": "san-francisco-public-library",
"isLoading": false,
"link": "/arts/tag/san-francisco-public-library"
},
"arts_21876": {
"type": "terms",
"id": "arts_21876",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21876",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Education",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Education Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21888,
"slug": "education",
"isLoading": false,
"link": "/arts/interest/education"
}
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"localStorageReducer": {},
"browserHistoryReducer": [],
"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": {},
"restaurantData": []
},
"location": {
"pathname": "/thedolist",
"previousPathname": "/"
}
}
