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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.

We're always excited for the beginning of summer movie season. Despite the fact that it's almost guaranteed to contain some major disappointments and jarring disasters, we often find goofy fun, sharp writing and new stars blowing up (sometimes literally) our cinematic seasons.

The first thing you may notice about Great News, a comedy premiering Tuesday night on NBC, is its similarities to 30 Rock. Here, a news producer named Katie (Briga Heelan) has her work life disrupted when her boss (Adam Campbell) hires her loving but overbearing mom (the great Andrea Martin, late of SCTV and truckloads of comedy since then) as an intern at the station. And while the focus is news rather than late night, the frustrated goofball at the center of a constantly careening television production has a familiar tone.

The first thing you should know about this week's show is that PCHH regular Glen Weldon has a strict rule against seeing Fast And The Furious movies, and while he would have waived it if he absolutely had to, we fortunately had willing correspondents in beloved fourth chairs Gene Demby and Chris Klimek, so they joined me and Stephen Thompson for our first segment.

It's not just Hamilton.

Musicals have always had a built-in advantage as cultural products. Individual songs can translate and build interest via cast albums or Tony telecasts in a way that's very difficult for plays to emulate. A lot of kids grow up on musicals like Grease and Annie -- and, yes, now Hamilton — while early introductions to plays, however great, might make them seem impenetrable or like homework. (I'm looking at you, William Shakespeare, and doing so lovingly.)

Note: This piece discusses the plot details from the sixth-season premiere of Veep.

Our team is just back from a wonderful live show in Chicago — thank you all for coming! — with W. Kamau Bell as our special guest and Sam Sanders in our fourth chair. (Both were wonderful.) We'll have audio from that show in your feeds later, but this week, we've got a special edition.

First up, we bring you a segment Glen Weldon did with our buddy Gene Demby of Code Switch about diversity in comics. It originally aired on the Code Switch podcast, but we thought we'd bring it to you here as well.

We're all back at the table this week, and we're joined by our library consultant, Boston pal, and wearer of colorful clothing, Margaret H. Willison. First up, we all listened to the new podcast S-Town, which has again raised the profile of narrative podcasts. This one, in seven parts, is about a man who wrote to This American Life to air his complaints about his small Alabama hometown — and that was only the very, very beginning of a complex story.

Tale as old as tiiiiiiime ...

By which, of course, I mean "tired people return from South By Southwest."

But in any event: this week's show kicks off with a discussion with our pal Katie Presley of Bitch Media about the live-action version of Disney's Beauty And The Beast. How are the candlesticks? How's the new music? And, as Katie wonders, is there adequate eroticism within the Beast, compared to the cartoon Beast who set Katie's young heart aflutter so many years ago? And what's the Les Miz-iest part of the Beast's new tune, anyway?

The six-episode podcast Missing Richard Simmons dropped its final episode on Monday, two days ahead of schedule. For a project nominally devoted to finding out more about what happened to onetime fitness guru Richard Simmons, it wasn't very satisfying by that standard. Host Dan Taberski concluded, in effect, that Richard Simmons was safe and physically healthy and had withdrawn voluntarily from public life without much fanfare, which is ... pretty much what we already knew. That's what Simmons had said in a call to Today that Taberski played again and again.

First, it was the iron. Then, it was the thimble. Now, Monopoly has kicked two more longtime tokens out of the game.

Step away, boot. Roll yourself away, wheelbarrow.

While we're waiting for Stephen Thompson to return from South By Southwest, we wanted to bring you two of the segments we did on our fall tour with friend of the show Guy Branum, who hosts the Maximum Fun podcast Pop Rocket and is also the host of the upcoming TruTV show Talk Show The Game Show, based on a live format he's been doing for a while. Guy joined us at the Now Hear This festival in Anaheim to talk about memes and fads, and to offer some pop culture advice to our listeners.

I've shed many of my physical books during my various moves, but one that I still have is Bill Walsh's Lapsing Into A Comma. Its subtitle: A Curmudgeon's Guide to the Many Things That Can Go Wrong In Print — and How to Avoid Them. I either loaned it to someone at some point or I intended to, because I wrote on the dedication page: "A book I read and loved, that it takes a grouchy writer to appreciate."

That comma should not be there, so that's embarrassing.

You've probably read by now at least a little bit about Jordan Peele's well-reviewed and very commercially successful horror movie Get Out. And many of you, I'm sure, have seen it. With the film a couple of weeks into its run, we thought it was the right time to sit down with Gene Demby and Kat Chow from Code Switch (while Stephen Thompson was out of town) to talk about this very, very creepy movie.

Copyright 2017 NPR. To see more, visit http://www.npr.org/.

AUDIE CORNISH, HOST:

The third season of "American Crime" premieres this Sunday on ABC.

(SOUNDBITE OF TV SHOW, "AMERICAN CRIME")

When we offered our friend Barrie Hardymon the chance to sit in our fourth chair for a discussion of Big Little Lies and Feud, I must tell you, listeners: she leapt. And if you know anything about Barrie, you know that she doesn't leap halfway.

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

If you've found yourself with little taste for sniping in recent days and a serious thirst for entertainment that's satisfying and warm, you're not alone. I've heard this from an awful lot of folks in the last couple of months. And while there are lots of places to go to find what you're looking for if this is the headspace you're in, one place is the terrific Charleston season of Top Chef that's about to wrap up. The penultimate episode is Thursday night, and the finale is in a week.

This week's show brings a new voice to our fourth chair: Alan Sepinwall, TV critic at Uproxx and author (of The Revolution Was Televised and, with Matt Zoller Seitz, of TV (The Book)), is with us to talk about two new shows.

Perhaps nobody cares about their clothes anymore.

Back in 2013, Monkey See brought you an exclusive interview — "exclusive" in the sense that it happened only in our minds and we therefore were the only ones who knew about it — with the iron, just after Monopoly announced it was being retired from the game. During that interview, the iron darkly alluded to a difficult history with another game piece: the thimble.

It is a truth universally acknowledged that parsing the broader implications of The Bachelor/Bachelorette can feel an awful lot like examining the semiotics of mashed potato flakes. But can we not also agree that the fact that a narrative is ridiculous and phony doesn't mean it isn't both reflective of and influential upon the culture out of which it grows?

It's always fun when somebody from the NPR podcast family sits in our fourth chair, and this week, we've got two of them.

The New England Patriots don't always win the Super Bowl. Tom Brady isn't always the face staring at you on Snack Digesting Monday, the traditional follow-up to Super Bowl Sunday. But it can sure feel that way.

Oscar season is upon us, and very often, it's a time when a lot of energy goes into analyzing a few races and a few of the highest-profile films as they square off against each other. We'll be doing that too in a couple of weeks, in our annual Oscars roundup. But first, we wanted to celebrate the season in a different way: by looking at some of the categories that sometimes fly a little under the radar, ours included.

For decades, Archie comics represented the wholesome, sweet-faced American teenager in none of his or her actual complexity. But reflecting some of the recent changes that have come about in the comics, the CW's new drama Riverdale places the gang at the center of a murder mystery. The show is less about having fun down at the chocolate shoppe and more about who shot whom and which clandestine affair is only a moment away from being discovered.

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.

I haven't seen the new film A Dog's Purpose, in which a dog's soul apparently returns over and over in different dog bodies until it's reunited with its original owner.* I can't understand how there's such a thing as an original owner according to the Law Of Conservation Of Dog Souls — how was this dog's soul spontaneously generated for this owner, but everyone else in the succession got a certified pre-owned dog soul? Are dog souls ever retired like basketball jerseys? Like, "Okay, Buckley, you've done well.

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.

Mary Tyler Moore is being remembered for her work on The Mary Tyler Moore Show and The Dick Van Dyke Show, as well as her appearances in theater and film. But perhaps no one feels her influence more keenly than other women who are funny on TV — especially ones who want to make shows about single women.

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ARI SHAPIRO, HOST:

Now let's talk about movies.

(SOUNDBITE OF FILM, "LA LA LAND")

RYAN GOSLING: (As Sebastian, singing) City of stars, are you shining just for me?

To revisit the box office numbers for 1988 is to remember when movies that made a lot of money looked entirely different than they do now. Rain Man grossed more money domestically than anything else that year. It was followed in the top 10 by Who Framed Roger Rabbit, Coming To America, Big, Twins, Crocodile Dundee II, Die Hard, The Naked Gun, Cocktail, and Beetlejuice. Only one sequel in the bunch. That's two adult dramas (if you count Cocktail, which ...

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