451 episodes
Fresh Air Fresh Air
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- Arts
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4.3 • 31.6K Ratings
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Fresh Air from WHYY, the Peabody Award-winning weekday magazine of contemporary arts and issues, is one of public radio's most popular programs. Hosted by Terry Gross, the show features intimate conversations with today's biggest luminaries.Subscribe to Fresh Air Plus! You'll enjoy bonus episodes and sponsor-free listening - all while you support NPR's mission. Learn more at plus.npr.org/freshair
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Mary Tyler Moore
Moore is the subject of a new HBO (MAX) documentary that explores her rise in Hollywood — from her 1970s hit The Mary Tyler Moore Show, which inspired a generation of single professional women, to her 1960s breakout role on The Dick Van Dyke Show. She spoke with Terry Gross in 1995. Also, we remember novelist, essayist and literary critic Martin Amis, who died last week at 73. Film critic Justin Chang reviews the new live-action remake of The Little Mermaid.
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Gladys Knight's Biggest Hits For Motown Almost Didn't Happen (Fresh Air+) derivative FFMPEG-LOUD
Episode stub for episode ID 1178351019, asset ID 9b37b99c-c583-428a-a23f-7f8ef3d322c4
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The Hollywood Writers Strike & The Future Of TV
New York Times media reporter John Koblin discusses the Hollywood writers' strike — and how streaming has upended every element of TV and film production, leading to deteriorating working conditions.
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Chef Lidia Bastianich
James Beard Award-winning chef Lidia Bastianich fled the Italian peninsula of Istria, as a child, after it was handed over to Communist Yugoslavia following WWII. She spoke with Terry Gross about her family's journey to America, her first TV dinner, and how food became her "connector." Her new PBS show is Lidia Celebrates America. Lloyd Schwartz reviews a CD set of opera singer Renée Fleming.
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Julia Louis-Dreyfus
Louis-Dreyfus stars in the new film You Hurt My Feelings. She spoke with Dave Davies about her first big laugh as a kid, receiving the Mark Twain Prize for American Humor, and her new podcast, Wiser Than Me. Also, John Powers reviews the British crime series Happy Valley, now available in the U.S.
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Wanda Sykes Returns
Legendary comic Wanda Sykes spoke with Tonya Mosley about the WGA strike, portraying Moms Mabley in the Marvelous Mrs. Maisel, and raising white kids as a Black mom. Her new Netflix special is I Am an Entertainer.Also, David Bianculli reviews a new HBO documentary about Mary Tyler Moore, and book critic Maureen Corrigan reviews Goodnight, Irene by Luis Alberto Urrea.
Customer Reviews
Terry Gross is a gift
Thank you, Terry. I’ve learned so much from you over the years. Best interviews on radio. The gold standard.
Great show, but poorly edited as podcast
I was very excited to have access to Fresh Air as a podcast since I'm usually working when the show airs. The interviews are great, but the editing has been disappointing. Segment changes are choppy and episodes often end mid-sentence. The Ken Burns segment of March 15 was a particular disappointment, ending less than 10 minutes into the episode. I love the show! I just hope the editing improves.
WGA strike: skewed coverage (5/25/23 episode)
The media love to present the WGA strike as poor little writers vs big bad greedy studios. But do they even understand what writers actually get paid? A lot. “Fresh Air” claims that one writer sold two pilot scripts, is simultaneously working in 3 writers’ rooms (then such writer must be breaching the exclusivity restrictions of his/her contract - being in a room is a full-time gig), and is also working on a feature script - and *still* needing public assistance. WHAT?! The WGA minimum price for a 1-hour pilot script is nearly $100K. And many studios pay *well* above that floor. The WGA minimum weekly fee for a writers room is $7.5K-$10K *per week* for all but the junior-most writers (with most rooms being at least 10 weeks, if not longer, e.g., 20 weeks). And, again, many studios pay well above that floor. PLUS writers have a robust pension and health insurance. If the referenced writer needs public assistance, I’d say they actually need help and discipline with money management.
Yes, this is a gig job. But it always has been. And writers know they’re choosing a not-stable gig *for their art*. Otherwise, they could/should be dentists or accountants or - gasp - studio executives instead. Except, oh yeah, then they’d only get paid commensurate to how much they work.
And while episode orders may be shorter, the whole point is, there are a TON more shows to write for these days. A TON more. And many more potential employers (e.g., Netflix, with its deep pockets), not just ABC, NBC, CBS, and a handful of rando cable channels.