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.

Breaking the fourth wall is like putting gold leaf on a dessert: good for a quick jolt of surprise and superficial specialness, but the more common it becomes in the culture, the less impressive its deployment by any particular creator.

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This is WEEKEND EDITION from NPR News. I'm Rachel Martin.

(SOUNDBITE OF FILM, "GREASE")

JOHN TRAVOLTA: (As Danny Zuko, singing) Why, this car is automatic. It's systematic. It's hydromatic. Why, it's greased lightning.

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As Stephen mentions early in this episode, the original nut of what became Pop Culture Happy Hour was a conversation he and I had about whether we should take conversations we'd been having in written form about American Idol -- like this one — and have them in audio form instead. So just as without Dawson's Creek (which eventually begat the first place I ever wrote) I would not be writing, without American Idol, there might be no PCHH.

NPR's Weekend Edition has been chatting with TV critics about shows that they believe flew a little too far under the radar in 2015 — Maureen Ryan talked about The 100 last weekend, and Alan Sepinwall talked about Review.

Note: This post discusses the events of Thursday night's episode. Be warned!

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[Caution: This post discusses the plot of the first and second seasons of Fargo, right up until the end of the second season and the finale that aired the night of Dec. 14. Please don't be surprised that if you haven't yet watched it, it will give away what happens. Again, this is a post about the second season of Fargo and as such discusses all events from the second season of Fargo.]

[You've been warned.]

The title of Maris Kreizman's Slaughterhouse 90210 is, on the one hand, catchy and funny, and it certainly communicates the book's basic conceit: pictures from the world of pop culture paired with quotes from the world of great literature. Based on Kreizman's Tumblr of the same name, the book does its thing with a wink and a dose of wit in many cases, to be sure.

On this week's show, two of us (Bob Mondello and I) are freshly back from the Toronto International Film Festival, so we have news on some of what we saw and what you can expect to see in the near weeks and the less near months to come. Is The Martian spacey enough? Can Tom Hiddleston really play Hank Williams? And whither artsy 3D?

All these questions and lots more are about to be answered. Then in our second segment, we'll return to a favorite regular feature: the fall TV pool, where we gamble on which new shows actually have a chance to win hearts and minds.

The hard numbers on Sunday night's Primetime Emmy Awards told a story that could look a little dull to the glancing eye.

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AUDIE CORNISH, HOST:

This is one in a series of essays running last week and this week about the state of television in 2015. The series is based on developments at the recent Television Critics Association press tour in Beverly Hills, Calif., where broadcast and cable networks, along with streaming services like Netflix, presented new and existing shows to TV critics and reporters. The entire series is available here.

Five-plus years into the history of PCHH, this is the first time we've found ourselves recording a full episode with just three of us — in this case me, Stephen and Glen. We gathered this week to talk about the HBO miniseries Show Me A Hero, which I previously reviewed on the blog over here.

This is one in a series of essays running last week and this week about the state of television in 2015. The series is based on developments at the recent Television Critics Association press tour in Beverly Hills, Calif., where broadcast and cable networks, along with streaming services like Netflix, presented new and existing shows to TV critics and reporters. The entire series is available here.

This is one in a series of essays running last week and this week about the state of television in 2015. The series is based on developments at the recent Television Critics Association press tour in Beverly Hills, Calif., where broadcast and cable networks, along with streaming services like Netflix, presented new and existing shows to TV critics and reporters. The entire series is available here.

This is one in a series of essays running last week and this week about the state of television in 2015. The series is based on developments at the recent Television Critics Association press tour in Beverly Hills, Calif., where broadcast and cable networks, along with streaming services like Netflix, presented new and existing shows to TV critics and reporters. The entire series is available here.

This is one in a series of essays running this week and next about the state of television in 2015. The series is based on developments at the recent Television Critics Association press tour in Beverly Hills, Calif., where broadcast and cable networks, along with streaming services like Netflix, presented new and existing shows to TV critics and reporters.

One of the accusations that was often leveled against Mad Men as an examination of social problems was that it paused too often to scoff at how foolish (or sexist, or racist, or environmentally ignorant) everyone was in the 1960s, as if we've outgrown all of it. One of the best things about Show Me A Hero, HBO's dense but involving examination of a dispute over the construction of low-income housing in Yonkers, N.Y. in the 1980s is that there's no smugness to it.

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