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 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.

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

The satisfying thing about TV crime shows is that they offer a sense of closure. The unsatisfying thing is how much of life they must leave out to do it. Like, history. Whether you're talking CSI or Sherlock, crime shows tend to take place in a weirdly hermetic universe where the characters may change — like in True Detective — yet the historical moment in which they live remains largely irrelevant background.

In the years following the invasion of Iraq, it became a truism that Americans simply didn't want to hear about the war — especially at the movies. While there were scads of films about Iraq, including Kathryn Bigelow's Oscar-winning The Hurt Locker, none was able to attract a big audience. Until American Sniper.

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There are lots of good filmmakers, but only a handful are always, unmistakably themselves. One of these is Werner Herzog, the 71-year-old German director who now lives in L.A. Herzog has done things nobody else would do for a film — like trying to tug a 350-ton steamship over a small mountain. This has made him notorious as a wild, love-him-or-hate-him monomaniac — an image he's been canny enough to milk.

Back in the '90s, there was a Hollywood comedy — I can't remember which one, I'm afraid — that became a surprise hit. Afterward, the movie's producer had this great line. He said, "If we'd known it was going to be so popular, we would've tried to make it good."