Glen Weldon

Wonder Woman 1984 premieres in theaters and on HBO Max on December 25.

As much as 2017's Wonder Woman came steeped in muddy browns and muted grays, every frame of its sequel Wonder Woman 1984 radiates bright, retina-sizzling neons and pastels. That stark contrast goes beyond their respective visuals — it extends to their very different emotional landscapes and narrative drives.

The prospect of spoofing Star Trek represents nothing new under the (binary) sun(s). The franchise has become an institution, and mocking institutions remains a thriving American cottage industry. Saturday Night Live started taking whacks at Trek way back in the '70s, as did MAD magazine, and the short-lived sitcom Quark.

It's called The Go-Go's.

That's it. Just The Go-Go's. The new Showtime documentary about the first all-woman group to write their own songs, play their own instruments and snag a #1 hit doesn't come with a subtitle. That's notable because subtitles, in documentaries, often serve as thesis statements, organizing principles, saying, here is the throughline, the thematic infrastructure, of this film.

Call it The Film About Rich People Hunting Poor People ... That Lived.

But that's a mouthful. Maybe The Hunt Strikes Back; it's pithier.

Just two weeks ago, Ready or Not seemed poised to represent a second data point in 2019's "Murderous, Mansion-Dwelling One-Percenters In Film" trend graph, preceded by Craig Zobel's "blue bloods vs. red staters" thriller The Hunt and followed in November by Rian Johnson's latter-day Clue riff, Knives Out.

I have seen the new The Lion King. Pop Culture Happy Hour is devoting a whole show to it this week, so I won't get into a full review here, but just know that, when it comes to one specific aspect of the new film — the one aspect about which I cared most keenly, most deeply, most intensely — the news is not senSAAYtional. It's anything but, in fact.

"Critique is so limiting and emotionally draining." — Morf

Say this much about L.A. art critic Morf Vandewalt (Jake Gyllenhaal) — he's right about the act of criticism. It's reductive by nature, and it can take a psychic toll on the critic, who, if they're any damn good at all, worries that their zeal for identifying the essence of a work may prove inadequate, if not flat-out wrong.

Eight best picture nominations emerged on Tuesday morning: Black Panther, BlacKkKlansman, The Favourite, Vice, Green Book, Bohemian Rhapsody, Roma and A Star Is Born. They are comedic and dramatic, based on real events and conjured from the pages of comics, in color and in black and white.

Alyssa Edwards (née Justin Dwayne Lee Johnson) is a lot.

She has to be; she's a drag queen. Being a lot comes with the lace-front wig. A drag queen who isn't a lot is no drag queen at all; she's food without flavor, art without color, Cher without Auto-tune. It's the difference, more specifically, between a fierce and fabulous queen like RuPaul and that one jock in high school who slapped on a Halloween store wig and stuffed himself into his girlfriend's cheerleading outfit for school spirit day.

In a letter to its members sent this morning, the Academy of Motion Picture Arts and Sciences (AMPAS) listed three changes approved by its Board of Governors.

1. A three-hour Oscars telecast

We are committed to producing an entertaining show in three hours, delivering a more accessible Oscars for our viewers worldwide.

Call them the Mighty Marvel Movie MacGuffins. They're the glittery objects that drove the plots of several individual Marvel movies and that collectively shaped the direction the entire Marvel Cinematic Universe has been heading (almost) since its inception.

They are the Infinity Stones — immensely powerful gems that contain and channel elemental forces of the universe. They're what the villains crave and what the heroes protect. They can be used to destroy or create.

Mmmmmostly that first thing.

Another season of the darkly brilliant series Crazy Ex-Girlfriend has come to an end, and now, as has happened twice before, it falls to me the doughty task of sorting its original songs — 25 of them, this year — into a clear-eyed, dispassionate, purely objective, precision-engineered ranking that gleams with the cold light of surgic

I fell in love this week. Happens more often than you might think.

But the fact that it's happened before, and will happen again, doesn't mean this latest infatuation is any less passionate, abiding, head-over-heels, birds-suddenly-appear, stars-fall-down-from-the-sky resolute.

My husband's cool with it. He always is; we have an understanding. Also the object of my love is a podcast. Probably should have mentioned that at the top.

On Monday, Amazon Studios announced it had acquired the rights to bring J.R.R. Tolkien's The Lord of the Rings to television. The ink's still wet on the contract, so details are sketchy.

We know only that it will be an ongoing, multi-season series that will "bring to the screen previously unexplored stories based on J.R.R. Tolkien's original writings," according to the press release — and that it will be set before the Fellowship of the Ring, the first volume of Tolkien's main LoTR saga.

We're scattered to the winds this week, so we thought we'd dig one of our favorite episodes from last year out of the vault — the one in which we took a first look at two then-new broadcast television shows that continue to impress: This is Us on NBC, and Speechless on ABC.

The first book of the Harry Potter series went on sale in the U.K. 20 years ago today. It offers a convenient excuse to reacquaint yourself with a world before anyone on this side of the Atlantic had heard of muggles, horcruxes or pensieves, before tourists would crowd into London's Kings Cross railway station simply to peer wistfully at the space between Platforms Nine and Ten.

Here's the first story NPR ever aired about Harry Potter — a wonderful piece by the late Margot Adler, from All Things Considered in 1998.

Some gems, from that bygone era:

"Why is a welder like a woman in love?"

I'm 7 years old, standing between the two dogwood trees in my backyard. It's autumn; there's a crispness in the golden, late afternoon air. I've taken the hood of my parka and thrown it over my head, but my arms are not in the sleeves. The coat falls over my narrow, bird-boned shoulders and down my back.

Like a cape, you see.

Robert Silvers, whose long career as an editor included terms at The Paris Review, Harper's and, most notably, as co-founder of The New York Review of Books, died Monday at his home in Manhattan. He was 87.

Silvers launched The New York Review of Books in 1963 with Barbara Epstein, intending to raise the standard of book reviewing. In its pages, a given book under consideration could be little more than a jumping-off point for an extended essay that directly engaged the political and cultural moment.

So. How'd you do?

Did you follow my advice in making your Oscar pool picks?

... You did? All of them? Hunh.

Well then. That means you got 13 out of the evening's 24 categories correct.

That's ... 54%.

So. Yes. Well. Cough.

Updated at 4:10 p.m. ET

A literary treasure buried for more than a century has been unearthed by Zachary Turpin, a grad student at the University of Houston.

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When the nominees for the 2017 Academy Awards were announced this morning, La La Land racked up 14 nods, tying records held by Titanic and All About Eve.

Herschell Gordon Lewis, who died earlier this week at the age of 87, wore several hats over the course of his life: advertising copywriter. Self-styled direct-marketing guru. And, most famously, director of exploitation films of various stripes (nudie, splatter, nudie-splatter).

Actor and writer Gene Wilder, who brought his signature manic energy to films such as The Producers, Blazing Saddles, Young Frankenstein and the role that forever ensconced him in the collective memory of a generation of children, Willy Wonka & the Chocolate Factory, has died. He was 83.

Wilder died early Monday at his home in Stamford, Conn., of complications from Alzheimer's disease, according to a statement from his nephew Jordan Walker-Pearlman.

On Wednesday night, the film Star Trek: Beyond held its red-carpet premiere at San Diego Comic-Con. They went all out – a live orchestra, fireworks, a laser show. Conan O'Brien hosted the gig. NPR's Nina Gregory reported on it for Morning Edition yesterday.

Full disclosure, here at the start: I don't know Pokemon.

That's not technically true; here's a list of everything I knew about Pokemon before playing the new smartphone app, Pokemon GO (this knowledge absorbed solely through cultural osmosis, given the phenomenon's ubiquity).

1. Pikachu is a kind (species?) of Pokemon. It is an "electric-type" Pokemon. It is yellow. It has a cutesy voice. Said voice is profoundly annoying.

2. Squirtle is another kind of Pokemon, a "water-type" Pokemon. It, as one might imagine, squirts.

Her name is Riri Williams. She reverse-engineered her own version of the Iron Man battlesuit in her MIT dorm room, got kicked out, and struck out on her own to do the superhero thing. Clumsily at first, but she's learning fast. So fast she's impressing Tony Stark, who's questioning his status as the Marvel Universe's go-to, super-powered Campbell's soup can. Readers first met her in the March issue of Invincible Iron Man.

[Spoilers ahead for the finales of both Veep and Game Of Thrones. Obviously.]

Chaos isn't a pit. Chaos is a ladder.

-- Petyr Baelish, Game of Thrones Season 3, Episode 6

Well then, why don't we send WARSHIPS into the South China Seas? I WANT! MY NOBEL! PEACE PRIZE!

-- President Selina Meyer, Veep, Season 5, Episode 10

Last night on HBO, two venal, scheming rulers saw their secret machinations come to ruinous ends — literally ruinous, for one of them.

"Nostalgia," a wise man once wrote, "is the nutrient agar upon which nerd culture grows."