Linda Holmes

In the pandemic era, the Emmy Awards are not the first major event that can't be a traditional shindig, but they're perhaps the most high-profile awards show so far to attempt quite this kind of socially distanced, mask-wearing, virtual ceremony. Host Jimmy Kimmel and everyone producing the broadcast had a pretty tough hill to climb in making it watchable.

And surprisingly enough, it was. It wasn't just watchable; it was ... pretty good.

Ratched is beautiful, but it's really bad.

One of the things we're still learning about the pandemic we're enduring is what art will come from it. That's for a few reasons: the emotions it produces can crowd out others, the political moment crisscrosses with and complicates it, and logistically, any art that requires gathering, of artists or audiences or both, is too dangerous to undertake in many places. It's not clear how long those things will be true.

Less than five minutes into the four-episode Showtime documentary series Love Fraud, a woman named Tracy says, "There's no excuse not to have teeth these days." She's talking about online dating and literal teeth, about arriving for a date with a man she found online and realizing he didn't have teeth. But could you take this as a little bit of a mission statement for the series? You could.

I'm overwhelmed by so many things right now, not the least of which is that I keep having to build wind turbines.

When you think about a Seth Rogen movie, he's almost always got pals around. He's made comedies with James Franco, Jonah Hill, Craig Robinson, Adam Sandler and — if you count Steve Jobs — even Michael Fassbender. It only makes sense he would eventually make a buddy movie with himself.

Evan Rachel Wood says in the new HBO documentary Showbiz Kids that there's an easy way to spot a child actor. Just look for anyone who's good at juggling, or at Hacky Sack — as she puts it, "any kind of weird skill that you had to master by yourself." Not because child actors are antisocial or friendless, but simply because actors on film sets spend so much time alone, and if you spend a lot of time alone as a kid, these are the kinds of things you teach yourself. It's one insight among many to be found in this strong new film.

There's an argument that a review of Palm Springs, new this weekend on Hulu, should just say, "Watch it; it's fun. Andy Samberg, Cristin Milioti, romantic comedy hijinks — just watch it." That's as much as I knew about it, and I enjoyed seeing it reveal itself, and if you're willing to take my word for it, then off with you! Watch it; it's fun.

Now ... what to say to the rest of you, who need a little more, or who have already seen promotion for the film that you can't unsee. Promotion that gives away the premise.

We committed the unpardonable crime of being mavericks who were successful, and everybody hated us. It would've been fine if we'd been just hacks and made a lot of money, that's OK. Or to be really original and starve, that's OK. But it's not OK to do both, and they didn't forgive us.

Early in Irresistible, a film directed and written by Jon Stewart, we cut from your basic Washington weasel to what is labeled in a caption as "Rural America," and under that, "Heartland, USA." This wry joke suggests that ripping off this meaningless, cynical label slapped on the Wisconsin town we're about to visit will be the film's purpose. Unfortunately, "Rural America: Heartland, USA" is how the movie sees the town, too. The town is generic, the people are generic, the movie is generic, and its politics are generic.

Note: This review discusses, and the show contains, scenes depicting, and stories about, sexual assault.

In the first episode of the HBO series I May Destroy You, Arabella has other things going on before she's sexually assaulted. She's trying to meet a book deadline, and she's worried she can't, and in the great tradition of writers doing everything else when they can't write, she steps out for a drink. When she next comes to, she realizes she was drugged and assaulted.

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When Tim Gunn and Heidi Klum left Project Runway, it wasn't clear whether it could survive without them, or whether they could succeed on a different show. We know the answer to the first question, at least creatively: The new incarnation of Runway, starring Christian Siriano and Karlie Kloss, is better than most of us expected, and Siriano in particular has carved out a very different mentor role than Gunn's that's satisfying in new ways.

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At Sunday's Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.

There are nine nominees for best picture this year, and we've covered all of them on Pop Culture Happy Hour. We're cramming for Sunday night's awards, and we know some of you are too. We'll be tweeting and writing and recording on Sunday night, and we'll have our wrap-up on Monday morning, so until then, enjoy this look back at some of our favorites (and not-so-favorites) of 2019 that have risen to the top of this particular pack.

'1917' Is Not Your Dad's War Movie

Endings are sad, but without them, nothing matters.

That was only one of the lessons of the thoughtful, emotional finale of NBC's The Good Place, which itself ended after four seasons and only 52 episodes. But, as the show itself stressed in its last couple of installments, heaven is not continuing forever: It's leaving at the right time, when you've done your work. When you're ready.

The headline out of this morning's Oscar nominations could have been newness. There was the arrival of Netflix's two best picture contenders (Marriage Story with six nominations and The Irishman with 10). There was the huge showing for Bong Joon-ho's remarkable Parasite (six nominations) out of South Korea, the extraordinarily rare foreign-language film to make the leap to best picture and the first from South Korea.

We have this conversation every year, but that doesn't mean it's not true: It's hard to know what to make of the Golden Globes telecast. We — and by "we" I mean most awards show watchers — hold a few truths to be self-evident: that the Globes are silly, that it's nice to see people be praised for good work and that the Globes (like most awards, unfortunately) do a pretty terrible job of rewarding people who do good work in an equitable way, which means even deserved wins can feel bittersweet.

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It's time to talk about "Cats."

(SOUNDBITE OF SONG, "JELLICLE SONGS FOR JELLICLE CATS")

UNIDENTIFIED ACTORS: (Singing) Jellicle songs for jellicle cats, jellicle songs for jellicle cats.

The rapid ascent of Netflix as a creator of film and television continued Monday morning as the streaming service placed four films in the Golden Globes' 10 best motion picture contenders in comedy and drama. But the Hollywood Foreign Press Association rewarded established directors like Quentin Tarantino, too, while continuing its legendarily wacky devotion to some of its favorite celebrities.

The business proposition behind Netflix's painfully flat family sitcom Merry Happy Whatever, released in an eight-episode binge on Thanksgiving Day, is the most defensible thing about it. It makes all the sense in the world to try to offer large groups of people something aggressively — almost defiantly — unobjectionable to watch, and it makes sense that it might be a very old-fashioned multicamera sitcom. What's more, there have been some good multicams in the last few years, including Netflix's own fabulous One Day At A Time, so why not give it a shot?

[UPDATE: As of Monday 11/11, we have added three films from OWN and two from Freeform.]

It's holiday TV movie season, and it's not just a Hallmark party. There's also Lifetime, UPTV, and — increasingly — Netflix, as well as OWN and Freeform.

It is hopefully clear that a review and discussion of the Succession season two finale is not suitable for people who do not want to be spoiled regarding the Succession season two finale. If it is not clear: You will know what happened on this episode by the time you're finished reading this piece. Choose wisely.

If you predicted that creator-actor Phoebe Waller-Bridge would be a big winner going into Sunday night's Emmy Awards, you might just have won your Emmys pool. And if you were predicting a giant final haul of Game of Thrones trophies as that show leaves us for good, you were, well, sort of right.

Good morning from Toronto, where the NPR Movies team has decamped for the next seven days or so, as we attend the Toronto International Film Festival, the largest film festival in North America.

It's an old tradition that endures, even amid the year-round deluge of programming brought to us by the age of streaming. It is the fall TV preview.

Turns out fall is the perfect time to refocus on television after a summer filled with vacations and outdoor distractions. So our pop culture team collected the coolest TV shows coming your way over the next few months as a guide through the madness. We haven't seen all of these programs yet, but we've learned enough to know they're worth checking out.

Much of serialized television is made up of monster stories.

Sometimes it's about a seemingly normal person being revealed as a monster, like on Breaking Bad. Sometimes it's a whole family of monsters in training, like on Succession. In Showtime's new series On Becoming A God In Central Florida, the monster is a pyramid scheme called FAM.

This Way Up, which premieres on Hulu on August 21, is a stellar example of one of the challenges in what we've come to know as "peak TV": It doesn't have a star who's famous in the United States, it doesn't have a particularly high concept, and at first glance, there are other shows superficially similar to it. But it's very good, and it's warm and clever, and it will — or would — precisely hit the spot for a lot of people, if only they can find it.

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