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One of our picks for the best episodes of the first half of 2016 was one of the early “Modern Love” entries, featuring Sarah Paulson’s performance of Amy Seek’s “Open Adoption: Not So Simple Math.” The simple beauty of “Modern Love,” which brings in notable names to read selections from the regular New York Times column, is that it can balance the playful and the sorrowful, the curious and the gutting.
Like the best episodes, it not only elevates the importance of something oft-ignored, it uses that sense of discovery to challenge the perceptions of what we collectively deem insignificant or unworthy of examination.Konop’s retelling of the story is a window into the recent past, when viral videos were still an early sensation.It’s also a reminder of how quickly fortunes can turn in the political realm and the quaint mistakes that used to end careers.” a modern twist, consistently courts an impressive array of leaders in various scientific fields and lightning-quick comedians to match (Ken Reid, Obehi Janice and Eugene Mirman headline this edition).Along with the episode about the science of nightmares, this is a showcase for its panelists’ uncanny ability to balance playful needling with a genuine curiosity.One of the show’s lasting delights will be this episode’s kick-off: Timothy Simons’ impeccable delivery of Mike Lacher’s Mc Sweeney’s essay “I’m Comic Sans, Asshole.” With an entertaining reading from Robyn Clark and a chilling George V.
Higgins excerpt delivered by Corddry himself (and Robert Baker’s performance of the Declaration of Independence to boot), it’s a solid example of what made the show a quality listen while it was still on the air.
And they mix in some of the quickest callback jokes you’ll find anywhere.
Months before Leonard Cohen died in early November, the artist’s seminal songwriting work “Hallelujah” formed the basis for an exploration of genius, courtesy of bestselling author Malcolm Gladwell.
When our protagonist crashes a gathering of tech-cult followers, the story’s blend of social media futurecasting and undercover intrigue gives way to an audio bottle episode that flips the script on everything that’s come before.
Animated films have always been populated by voices belonging to comedians whose material is decidedly unsafe for youngsters.
The first six episodes of GE and Panoply’s follow-up to last year’s “The Message” is a sci-fi infused exploration of how we process grief.