John Powers

John Powers is the pop culture and critic-at-large on NPR's Fresh Air with Terry Gross. He previously served for six years as the film critic.

Powers covers film and politics for Vogue and Vogue.com. His work has appeared in numerous publications, including Harper's BAZAAR, The Nation, Gourmet, The Washington Post, The New York Times and L.A. Weekly, where he spent twelve years as a critic and columnist.

A former professor at Georgetown University, Powers is the author of Sore Winners, a study of American culture during President George W. Bush's administration. His latest book, WKW: The Cinema of Wong Kar Wai (co-written with Wong Kar Wai), is an April 2016 release by Rizzoli.

He lives in Pasadena, California, with his wife, Sandi Tan.

I don't believe in ghosts, but sometimes when I walk through my house I think I hear the forlorn cries of all the books, movies and TV shows that I've loved over the past few months but never got around to talking about. And so, every December, I try to silence those cries with my annual "Ghost List" of favorites I've ignored — a group that in 2017 ranges in spirit from cosmic surrealism to ripped-from-the-headlines immediacy.

National Treasure, Hulu

There's an unforgettable scene in the Netflix documentary Joan Didion: The Center Will Not Hold. Filmmaker Griffin Dunne asks Didion about the legendary moment when, while reporting a piece on the counter-culture in San Francisco's Haight-Ashbury neighborhood, she came across a 5-year-old girl tripping on LSD.

"What was that like?" Dunne wonders. Didion pauses, and replies, "It was gold." Which is to say that the little girl was great material.

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It's that time of year when you hear talk of "summer reading," a term that refers to books that are fun and undemanding — you know, the perfect accompaniment to lying on the beach. Such books heighten the airy sense of irresponsibility that comes with escaping the gravity of our lives back home.

There's a classic moment in the romantic thriller Charade, when Audrey Hepburn says to Cary Grant in exasperation, "Do you know what's the matter with you? ... Nothing."

For decades, the whole world felt the same. Grant's unrivaled blend of charm, good looks and silliness — he hadn't a shred of pomposity or elitism — made him a movie star everyone loved. Everyone, that is, except Archie Leach, the actor's real-life self who wrote that he'd spent years cautiously peering from behind the face of a man known as Cary Grant.

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Back in the 1980s, Salman Rushdie wrote that the defining figure of the 20th century was the migrant. I think his claim may be even truer of the 21st century.

These days, almost every new movie, TV show, album or book feels so anticipated and pre-packaged that we're already tired of it by the time it's released. This makes it especially thrilling when something dazzling just appears like that alien spaceship in Arrival, startling even those whose business it is be in the know.

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