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.

It's hard to believe that not only was there no Serial six months ago, there was no Serial three months ago. The hugely popular podcast, a spinoff production of This American Life, didn't even premiere until early October, but since then, it has made its way with great speed into worlds from Sesame Street to Funny Or Die.

I've been listening to Startup — the podcast started by Planet Money alum Alex Blumberg to talk about the establishment of his company, Gimlet Media — since it debuted in early September. It appears every other Monday, so they posted their seventh episode this morning.

I'm surprised it took me until their fourth episode, which I heard on October 10, to notice that I couldn't remember any women being heard on the show other than Blumberg's [awesome and hilarious] wife and the [less present but probably also delightful] wife of his business partner, Matt.

Part of the hook of the fine podcast Serial, spun off from This American Life and hosted by Sarah Koenig, is that it feels exactly like the grungy, procedurally exacting, multi-episode stories that are so popular right now on television. It feels so much like a great series on Showtime or HBO; it has the flavor of the anticipation and blind alleys and you-gotta-see-this social anticipation of True Detective or Fargo.

For a couple of lovely weeks in October, our dear pal Ari Shapiro — who has long since forgiven us for making him watch the VMAs and Olympus Has Fallen for a prior episode — was back at NPR HQ to host Weekend Edition. While we had him here, we grabbed him up for a conversation about Transparent and pop culture debuts.

It was an announcement of an old-school job that played out in a new media landscape: Yesterday, Variety reported that Neil Patrick Harris would host the Oscars, which they tweeted at 4:49 P.M. Harris himself tweeted a little video of himself crossing "Host the Oscars" off his bucket list — also at 4:49 P.M. Then finally, an interminable 26 minutes later, we got the press release from the Academy that announced with excitement that Neil Patrick Harris would host the Oscars in 2015.

Friend Of PCHH and NPR Books editor Petra Mayer recently returned from New York Comic-Con, so we asked her to talk a little about what she did while she was up there. As it happens, she kept herself very busy, moderating a panel full of authors she admires and chatting up one of the biggest nerd icons of her (and my) pop-culture coming-of-age.

You've had a week now since the release of David Fincher's Gone Girl, the adaptation of Gillian Flynn's Gone Girl, so we hope that the most fervently excited of you have already seen it.

Regular PCHH listeners know that our own Glen Weldon is a big fan of Twin Peaks, so we knew that he would be excited to sit down and talk about the big news that it's returning to Showtime for nine new episodes, picking up the story 25 years later.

He and Stephen Thompson therefore sat down for a chat about where the show might be going from here, why Glen believes having both original creators on board is so important, and which two favorites from public television he imagines when he thinks about their collaborative process.

Lifetime's new show Girlfriend Intervention is not subtle about its message. Its premise is four black women giving a makeover to a white woman on the theory that, as they put it, "Trapped inside of every white girl is a strong black woman ready to bust out."

They don't even have to say "weak white girl" or "lame white girl" or "ugly white girl" or "unfashionable white girl" or "boring white girl," because all those things are, before long, implied.

The latest indignity seemingly imposed by commerce upon art is the news that the cable movie channel Epix would air, in addition to the original black-and-white version, a color version of Alexander Payne's Nebraska, which was nominated for Best Picture earlier this year and stars Bruce Dern and Will Forte as a father and son on a somewhat discursive road trip nominally aimed at retrieving a cash payout to whi

I personally was responsible for emotionally bullying at least two of my critic friends into attending the poolside screening of Sharknado 2 that took place at the hotel where press tour happened a couple of weeks ago. I make this confession because we must establish the basic understanding that I am merciless when it comes to attempting to con people into watching extraordinarily silly movies. In fact, I tried, when the first Sharknado was on, to goad the NPR morning news meeting into caring about it ("There's this movie tonight!

For the next couple of weeks, I'm out in California covering the Television Critics Association press tour. Not familiar? Here's an introduction.

Day 1 of summer press tour began with hammering and ended with a giant Christmas tree.

Let's back up.

I've always been the shrugging type when it comes to lots of things that Facebook does that make people crazy. They change the layout, they mess with the feed — even making you noodle with your privacy settings has always seemed to me like the craven doing of business, and something where I could say yes or I could say no, the same as any business that offered good service sometimes and lousy service other times.

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