Linda Holmes

In the story of Billie Jean King beating Bobby Riggs, told again in Battle Of The Sexes, it's often forgotten that she didn't particularly want to do it. In fact, she didn't do it until Riggs had badly beaten Margaret Court, who was one of the greatest players in women's tennis at the time.

It's one thing to be a Hollywood actor who can respectably warble your way through a karaoke scene now and then. It's another to be able to perform the lead in a Broadway production of a Stephen Sondheim musical. Sondheim's melodies are complicated, the vocal ranges they require are considerable, and the surprises buried in them are startling. They require not only a lot of sound, but a belly full of feeling.

If you've never seen the Property Brothers on television, here's how their show works: Their names are Drew and Jonathan Scott, and they're twins. (Of course they're identical; like television cares about fraternal twins. Fraternal twins might as well be on the radio!) They show prospective housebuyers — invariably a romantic couple — some houses, and the couple picks one.

What is it fair to reveal about Darren Aronofsky's new film, mother!? Certainly what little the trailers and marketing have given away, which is that it stars Jennifer Lawrence and Javier Bardem as a couple (identified only as "Mother" and "Him") living in a house where something is not right.

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ARI SHAPIRO, HOST:

Not starting the SpongeBob SquarePants musical cast album with "Whoooooooo lives in a pineapple under the sea?" is like not starting an Abe Lincoln musical with "Four score and seven years ago." Okay, maybe not that. Maybe it's more like not starting an Oscar Meyer musical with "my bologna has a first name."

Hallie Meyers-Shyer's first feature as a writer and director is Home Again, which stars Reese Witherspoon as a freshly separated woman who opens her home to three young filmmakers who need a place to stay. Meyers-Shyer is only 29, but her film lineage goes back decades. Her parents, Charles Shyer and Nancy Meyers (now divorced), worked together for years on films including Private Benjamin (1980), Baby Boom (1987) and the updated versions of Father Of The Bride (1991) and The Parent Trap (1998).

Back in 2013, Lake Bell, an actress known for TV and film roles including Boston Legal, It's Complicated and No Strings Attached, wrote and directed In A World..., a smart comedy about a female voiceover artist trying to land a job narrating a blockbuster movie trailer. (We did a segment about the film, and about voiceovers, as a matter of fact.)

While the television season no longer runs neatly from September to May, there's still a rush of new shows — especially on broadcast networks — in the fall. Eric Deggans, NPR's TV critic, joined Pop Culture Happy Hour for our annual fall TV preview, and you can hear that audio by hitting the big PLAY button. (As always, our conversation concludes with our regular weekly segment What's Making Me Happy This Week, which this time around includes a music documentary, a new album, yet another TV show to consider and a podcast on the topic of television.)

Steven Soderbergh has made small films and big films, and Logan Lucky opened small. That might be the result of the same confluence of factors that make a lot of movies sag at the box office, but it might also be because Soderbergh made the film in a very unconventional way. That's just one of the things we talk about on this episode with our guests Chris Klimek and Danielle Henderson (while Stephen Thompson drinks some Wisconsin beer).

It's been a summer with a lot of good movies, to be quite honest. Wonder Woman, Dunkirk, Spider-Man: Homecoming, Girls Trip, The Big Sick. But you need a break from even the best movie binge, especially when some of them are ... you know, kind of sad and explode-y.

The hidden immunity idol. The U-Turn. The Golden Power Of Veto. Last Chance Kitchen. These phrases may not mean much to you, but to viewers of long-running reality franchises (specifically Survivor, The Amazing Race, Big Brother and Top Chef), they reflect a basic tenet of competition shows: Now and then, you have to throw your competitors a ... curve.

Long before Transparent, for which she's now Emmy-nominated for her work as Shelly Pfefferman, Judith Light was a soap star when soaps were a much bigger deal than they are now. Playing Karen Wolek on One Life To Live, she won two Daytime Emmys and became known for a devastating performance in a courtroom scene in which Karen was forced to acknowledge publicly that although she was married to a doctor, she was secretly also a sex worker.

This episode brings NPR Music editor Daoud Tyler-Ameen into the studio to talk with us about Dunkirk, the World War II film from The Dark Night and Inception director Christopher Nolan. Starring a big cast that includes Tom Hardy, Kenneth Branagh, and pop star Harry Styles, the film focuses on the drive for cornered men trapped on a beach to survive until they can be rescued.

It's hard to believe that the announcement that Twin Peaks was returning happened all the way back in October 2014. At that time, the oddball-TV classic from David Lynch and Mark Frost, which originally aired on ABC more than 25 years ago, was supposed to come back in "early 2016." But things happened, as things do, and the revival wound up premiering in May of 2017.

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LULU GARCIA-NAVARRO, HOST:

This week's show took us, and our guest Audie Cornish, to two very different but very interesting places: high above the streets of New York City and deep inside the recesses of Andy Samberg's brain.

Early in the new ESPN documentary Mike And The Mad Dog, Robert Thompson — a designated Talking Head Expert On Pop Culture for decades — says that if you don't live in New York, there's a good chance you don't really know who Mike Francesa and Chris Russo are. But, the documentary argues persuasively, you've seen the results of their work.

First up on this week's show, Gene Demby of our Code Switch team and Sam Sanders of the new podcast It's Been A Minute join Stephen and me to talk about Baby Driver, Edgar Wright, music, car chases, Ansel Elgort, and why it's so hard for guys who are originally admired by young women to get the respect they deserve.

This week's show starts off with a segment from our recent live show at the Bell House in Brooklyn, in which we talked about some of the ways pop culture has intersected with our summers and our summer vacations. You'll find out about Audie's history as a server, you'll hear Glen rant about sand, and you'll hear about a very special photograph of Stephen that I'm honored you can see for yourself.

This week, now that more of you have had a chance to see it, we're finally getting around to talking about the critical and commercial success that is Wonder Woman. Petra Mayer of NPR Books joins us to talk about Diana, her island of fighters, her romance, the inevitable Great Big Ending, representation that does and doesn't exist in this movie, and more.

The 2016 Tony Awards were fun, but undeniably a little anticlimactic. By then, it was in large part a coronation of Hamilton, a delivery mechanism for the many, many awards we all knew it would win. (And did.)

This week's show combines two segments from our fall tour that we haven't had a chance to share yet, because we've been so busy dealing with new things from week to week. First, from our Seattle show with Audie Cornish, we talk about when you hang in with culture until the very end and when you quit — or, as you might say, throw a book across the room. (Glen has strong feelings about this.) Shonda Rhimes, how to watch Law & Order, and lots more will go by the window as you travel through this segment.

Award-winning writer Denis Johnson died Thursday at 67, according to his publisher, Farrar Straus and Giroux. The prolific writer explored many forms during his career, and in 2007, novelist Nathan Englander wrote about Johnson's short story collection Jesus' Son for NPR.

Because of a scheduling snafu this week, it's just me and Stephen Thompson sitting down with our sci-fi buddy Chris Klimek to talk about Alien: Covenant, the film that dares to ask: "Is it okay if I put this little thing in your ear? I promise it won't grow into something that will burst out of your chest."

Then, we move on to a visit with Selina Meyer and friends as another season of Veep finds the group out of office and loving it. Or ... not really loving it, more like tooth-grittingly enduring it until something else can be arranged.

First, let me remind you: we've still got tickets to see us live in L.A. on June 15, where our fourth chair will be Shereen Marisol Meraji. We've got lots of good fun planned, since we figure everybody can use a night of good fun, so join us!

We've been known to enjoy a mix of the sublime and the ridiculous, and it's a week that's a little bit like that as we take on one of the best shows we've covered in a while and one of the most vexing movies.

You don't need me to tell you how much more television there is than there used to be, or how many more places you can find it. You don't need me to tell you that its population of creatively ambitious and idiosyncratic shows has grown enormously, as has its population of cheaply made UCSs – Undiscovered Channel Shows, where you learn that a show is entering its third season and only then do you realize that (1) it exists and (2) your byzantine cable menu actually does get that channel (although perhaps not in HD).

The first season of Master Of None, the thoughtful Netflix comedy starring Aziz Ansari and created by Ansari and Alan Yang, was one of the best pieces of comedy-drama to come out in 2015. Now, about a year and a half later, they're back with a second season that is even better, more ambitious, more creative and more moving than the first run was.

On this week's show, we have probably the biggest tonal difference between our first and second segments in our history, so stay with me.

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