KRVS

Glen Weldon

Glen Weldon is a regular panelist on NPR's Pop Culture Happy Hour podcast. He also reviews books and movies for NPR.org and is a contributor to NPR's pop culture blog Monkey See, where he posts weekly about comics and comics culture.

Over the course of his career, he has spent time as a theater critic, a science writer, an oral historian, a writing teacher, a bookstore clerk, a PR flack, a seriously terrible marine biologist and a slightly better-than-average competitive swimmer.

Weldon is the author of Superman: The Unauthorized Biography, a cultural history of the iconic character. His fiction and criticism have appeared in The New York Times, The Washington Post, The New Republic, The Atlantic, Slate, Story, McSweeney's, The Dallas Morning News, Washington City Paper and many other publications. He is the recipient of an NEA Arts Journalism Fellowship, a Ragdale Writing Fellowship and a PEW Fellowship in the Arts for Fiction.

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.

You know that joke-ish, brain-teasery thing about the doctor who says "I can't operate on my own son," but you're told the doctor isn't the patient's father, and the answer turns out to be that the doctor is a woman? It works, to the feeble extent it does, because it rests on our unconscious, culturally programmed preconceived notions — the kind of sexist background radiation that bombards us every day. You just assume the doctor is a man, for no clearly definable reason.

Fall is often the most intense movie season of all. Awards contenders begin to come into focus after the Toronto International Film Festival, while comedies and thrillers continue to hit screens. We got to see a lot of upcoming films at TIFF — below you'll find write-ups of 15 movies we really enjoyed and a heads-up about nearly 40 notable releases.

Let's get the cheap lazy jokes out of the way at the top:

It's Catch Me if You Can on Geritol.

It's The Great Train Robbery (Seniors Discount Fare).

It's The (All-You-Can Eat) Italian (Pasta-Buffet) Job. Okay. Enough.

What writer/director David Lowery's The Old Man & the Gun actually turns out to be, of course, is exactly what it looks like: a defiantly unhurried and genially old-fashioned cops-and-robbers yarn, built around a wry, wistful central performance from Robert Redford.

The second season of Netflix's American Vandal dropped last Friday. The first season proved a slow-build, under-the-radar, word-of-mouth phenomenon; the second arrived to a devoted and vocal fanbase. Season one was something you started hearing about over the course of weeks and months, from disparate friends and family; full, spoilery reviews of season two were posted at 12:01:01 a.m. last Friday.

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