The art show everyone loves to hate opens today in New York City. Every two years, the Whitney Museum of American Art hosts a show that's billed as an overview of art in America. The Whitney Biennial inevitably gets trashed by art critics, museum visitors and artists alike. As Karen Michel reports, this is the last biennial before the museum moves to a new building.
Filmmaker Wes Anderson makes movies that are eccentric, pointedly artificial and, to his fans, very funny. From his early comedies "Rushmore" and "The Royal Tannenbaums," to last year's Oscar-nominated "Moonrise Kingdom," Anderson's movies have looked and sounded different from everyone else's in Hollywood. And critic Bob Mondello says that streak continues with his spoof of extravagant 1930s melodramas. It's called "The Grand Budapest Hotel."
It's something most writer only dream of, but Jason Mott is living the dream. ABC has turned his first novel into a TV series. "Resurrection" premieres Sunday night. As NPR's Eric Deggans reports, it explores one transition just about everyone faces sooner or later.
ERIC DEGGANS, BYLINE: For Jason Mott, it all started with a vision about life after his mother's death.
Wes Anderson has his share of groupies and his somewhat smaller share of skeptics who find him a tad precious. As someone who leans toward the precious view, but is open to his grace notes, I found The Grand Budapest Hotel mostly delightful.
It's a madcap comedy, but with hints of tragedy lurking outside the usual Anderson dollhouse frames. The central character is Gustave H., played by Ralph Fiennes. He's the concierge of a kitschy, opulent, high-class European hotel between World Wars I and II.
When we taped this show on Tuesday, we had all had quite a lot of the Oscars, to be honest. And we secretly suspect that with the all-out pile-on that continues for months before the ceremony, you might not require an all-out assault on the whole thing. So this week, you'll hear a quick wrap-up of how we felt about the hosting, some of the speeches, some of the great moments of Adele Nazeem-ing it up, and then we'll bid the entire thing farewell until next year. Next year, Oscars.