Linda Holmes

Linda Holmes writes and edits NPR's entertainment and pop-culture blog, Monkey See. She has several elaborate theories involving pop culture and monkeys, all of which are available on request.

Holmes began her professional life as an attorney. In time, however, her affection for writing, popular culture and the online universe eclipsed her legal ambitions. She shoved her law degree in the back of the closet, gave its living-room space to DVD sets of The Wire and never looked back.

Holmes was a writer and editor at Television Without Pity, where she recapped several hundred hours of programming — including both High School Musical movies, for which she did not receive hazard pay. Since 2003, she has been a contributor to MSNBC.com, where she has written about books, movies, television and pop-culture miscellany.

Holmes' work has also appeared on Vulture (New York magazine's entertainment blog), in TV Guide and in many, many legal documents.

Well, it's safe to say Netflix giveth and Netflix taketh away.

Only a week after the Grand Takething that was Insatiable, the streamer brings along To All The Boys I've Loved Before, a fizzy and endlessly charming adaptation of Jenny Han's YA romantic comedy novel.

The new NBC series Making It has two reasons for being.

One is to grab a little of the upbeat, you-can-do-it energy generated by competitive cooking shows – The Great British Baking Show especially – and expand it to other areas of crafting. The other is to give viewers some solid hangout time with the stupendously amiable hosting pair that is Amy Poehler and Nick Offerman. All put together with some staples and glue, it's a lovely, if very low-key, summer watch.

A new film about Robin Williams begins with his appearance on Inside the Actors Studio with James Lipton. Lipton says: "How do you explain the mental reflexes that you deploy with such awesome speed? Are you thinking faster than the rest of us? What the hell is going on?" Williams first makes a goggle-eyed face, but then he falls over sideways, like an embarrassed kid, curling up and cackling. And then, of course, he does precisely the thing Lipton is asking about: a flurry of movements, voices, bits, fragments of thoughts flying by — fragments riffing on his own thinking.

Sacha Baron Cohen has two basic shticks that he uses in his new Showtime show Who Is America?, which premiered Sunday night. One of them works well, and the other one doesn't. Unfortunately, of the four segments in the premiere, he uses the effective strategy once and the ineffective one three times.

Those unfamiliar with Cohen's past work in films like Borat and Bruno need only to know that what he does, in short, is interview (and interact with) people while inhabiting various absurd alter egos. It's a prank show, for all intents and purposes.

ABC canceled its lucrative reboot of Roseanne in late May, after star Roseanne Barr published a tweet that compared Valerie Jarrett, a former aide to President Barack Obama, to an ape. ABC Entertainment president Channing Dungey called the tweet "abhorrent, repugnant and inconsistent with our values." It looked like the network was willing to take a financial hit and part with a successful property in the name of, of all things, principle.

Not so fast.

The Tony Awards felt a little different this year than they have recently. It was a year without a Hamilton or a Dear Evan Hansen; there was no one original, out-of-nowhere show that came into the Tony Awards as a pop phenomenon. In fact, all four of the four nominated musicals were adaptations of existing properties: SpongeBob SquarePants, Disney's Frozen and the non-musical films Mean Girls and The Band's Visit.

Anthony Bourdain's Twitter profile just says, "Enthusiast."

The chef, food writer, Parts Unknown host, Top Chef judge — the enthusiast — has died from an apparent suicide. He was 61.

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We've all been there - a darkened theater, the reminder to silence your phones, of course, and then...

(SOUNDBITE OF FILM, "JURASSIC WORLD: FALLEN KINGDOM")

BRYCE DALLAS HOWARD: (As Claire) What is that thing?

CORNISH: ...It's movie trailer time...

I belong to a generation of Americans for whom the idea of not only a royal wedding but a royal marriage was largely established by Charles and Diana, the Prince and Princess of Wales. Their staid ceremony and their seemingly joyless marriage (aside from the births of their children) made marrying into the royal family look less like a fantasy than like a march into oblivion — a grudgingly accepted transformation into a wealthy but hollowed-out target for photographers hoping to catch you at your worst.

Prince Harry, the sixth in line to the British throne, is marrying American actress (and former Suits star) Meghan Markle on Saturday, May 19.

Netflix is doing a volume business in comedy specials. Just since the start of 2017, they've had specials from Trevor Noah, Patton Oswalt, Ricky Gervais, Chris Rock, Dave Chappelle, Maria Bamford, Sarah Silverman, Amy Schumer, Jerry Seinfeld, and Marc Maron — and those are just the ones with the higher profiles.

Comedian Hari Kondabolu made a documentary in 2017 called The Problem With Apu. It's not very long — less than an hour. In it, he interrogates the legacy of Apu, the convenience store owner on The Simpsons voiced by Hank Azaria. Kondabolu talked to other actors and comics who longed for more South Asian representation, only to find that at the time, Apu was just about all there was. And Apu was not only voiced by a white actor, but he was doing what Azaria has acknowledged is a take on Peter Sellers doing an Indian accent in the movie The Party.

There is a fundamental audacity to Jesus Christ Superstar, which was staged as a live "concert" performance on NBC on Sunday night. First released as a concept album in 1970, the work by Andrew Lloyd Webber and Tim Rice not only imagines a very human story behind the final days in the life of Jesus, but it focuses on that story even when it involves ugliness, vanity, and conflict. It posits that Jesus felt not only frustration, but even resentment and ambivalence — not only about his faith, but about his own followers. On the one hand, it's kind of an obvious choice for Easter.

It only stands to reason that the most surprising Oscars might be followed by the least surprising Oscars.

Updated at 11:09 a.m. ET

The nominations for the 90th Academy Awards were announced Tuesday morning by a dapper, genial Andy Serkis and the always-intoxicating Tiffany Haddish.

The reputation of the Golden Globes is that they're the Oscars' rowdier, tipsier, weirder cousin — sometimes refreshingly so. And while awards season is always the most intense time of year for celebrity fashion, this year the allegations — and, in some cases, admissions — of sexual harassment and assault added a far more serious layer of conversation. Some women said in advance that they would wear black to convey their support for people who have reported abuse.

Only a few minutes into Sunday night's Golden Globes red-carpet broadcast on E!, Debra Messing explained to host Giuliana Rancic why nearly all the women were wearing black. (The men were, too, but they always do that.) Messing explained that it was part of the Time's Up initiative, which supports women who suffer from sexual harassment and assault — and not just in Hollywood. She went on to call out the recent departure from E!

Sally Hawkins stars as a woman who doesn't speak in the new film The Shape Of Water. Writer-director Guillermo del Toro is highly regarded for films across a spectrum wide enough to encompass Pan's Labyrinth and Hellboy and Crimson Peak. But The Shape Of Water is a romantic fable told in soft greens and blues, which co-stars Octavia Spencer, Richard Jenkins, Michael Shannon, Doug Jones, and Michael Stuhlbarg. We invited self-described del Toro fangirl Neda Ulaby, of NPR's arts desk, to talk about it with us.

It's no secret that movie theaters are trying to preserve the theatrical experience as something special — something you can't replicate, even in your tricked-out living room with your home theater system. Theater design is one of the ways they're trying to add value, as consultants and Shark Tank competitors might put it.

But at a recent screening of Blade Runner 2049, I experienced a technology that isn't new but was new to me, and with it, the need to make a plea that I never expected to make. Theaters, I beg you: don't manhandle my physical being.

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Early in the new ESPN documentary Mike And The Mad Dog, Robert Thompson — a designated Talking Head Expert On Pop Culture for decades — says that if you don't live in New York, there's a good chance you don't really know who Mike Francesa and Chris Russo are. But, the documentary argues persuasively, you've seen the results of their work.

The 2016 Tony Awards were fun, but undeniably a little anticlimactic. By then, it was in large part a coronation of Hamilton, a delivery mechanism for the many, many awards we all knew it would win. (And did.)

You don't need me to tell you how much more television there is than there used to be, or how many more places you can find it. You don't need me to tell you that its population of creatively ambitious and idiosyncratic shows has grown enormously, as has its population of cheaply made UCSs – Undiscovered Channel Shows, where you learn that a show is entering its third season and only then do you realize that (1) it exists and (2) your byzantine cable menu actually does get that channel (although perhaps not in HD).

Last year, the Tony Awards were swamped, particularly in the minds of many who only follow theater casually, by the phenomenon that was Hamilton. It got 16 nominations, it seemed like (and was) a lock to win many of them, and every other Tony story struggled to get a little bit of sunlight.

Well, excuse me while I throw away my first draft, won't you?

Grey's Anatomy is back Thursday night for the second part of its 13th season. It's hard to last that long, but it does seem that Grey's is — in the words of a friend of mine — "unkillable." And when you press its viewers on their thoughts about it, you often get a clear-eyed, fully aware evaluation of strengths and weaknesses that add up to a habit that's endured for over a decade.

Mary Tyler Moore, who died Wednesday, wasn't just beloved. She was the kind of beloved where they build you a statue. Moore's statue is in Minneapolis, where her best-known character, Mary Richards of The Mary Tyler Moore Show, worked for the fictional television station WJM. She'd already won two Emmys playing Laura Petrie on The Dick Van Dyke Show, but Moore cemented her icon status when Mary Richards walked into that job interview. Even if she got off to a rough start with Lou Grant, her soon-to-be boss, who kept a bottle of whiskey in his desk.

Most television shows arrive accompanied by the question, "Is it good?" Revivals of old shows, however, often arrive with the question, "Is it necessary?"

As you read this, we at Pop Culture Happy Hour are preparing for our final west coast stop at the Now Hear This podcast festival in Anaheim on Saturday, October 29, after the four shows we recently did in Seattle, Portland, San Francisco and Los Angeles. We had an enormous amount of fun with our fourth chairs: Audie Cornish in Seattle and Portland, Mallory Ortberg in San Francisco, and Kumail Nanjiani in L.A. And this week, we're bringing you a mix of two segments from those shows.

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