Trey Graham

Trey Graham edits and produces arts and entertainment content for NPR's Digital Media division, where among other things he's helped launch the Monkey See pop-culture blog and NPR's expanded Web-only movies coverage. He also helps manage the Web presence for Fresh Air from WHYY.

Outside NPR, Graham has been a lead theater critic at the Washington City Paper, D.C.'s alternative weekly newspaper, since 1995, which means he's seen a good deal of superb theater and a great deal of schlock. He's still stage-struck enough to believe that the former makes up for the latter.

Graham began his career as a writer and editor at The Washington Blade; his subsequent tenure at USA Today included a stint as the newspaper's music and theater editor. A past fellow at both the O'Neill Critics Institute and the NEA Arts Journalism Institute in Theater and Musical Theater, Graham won the George Jean Nathan Award for distinguished drama criticism in December 2004.

Graham is also a regular panelist on Around Town, the venerable arts roundtable program on Washington PBS affiliate WETA-TV, and the author of the theater section of the newest Time Out Guide to the nation's capital. He's written about books, travel, movies and the arts for publications including The New York Times and The Washington Post.

Born in New Orleans (during Mardi Gras, no less) and raised in South Carolina, Graham has lived in Washington, D.C., since 1990 ­ except for a couple of years in Zimbabwe, which turned out to be way more fun than a politically perilous, economically disastrous situation has any right being.

Strange and stylish and surpassingly dark, Denis Villeneuve's Enemy — especially paired with the same director's recent cop thriller Prisoners — makes a strong case for star Jake Gyllenhaal as maybe our most enigmatic young leading man.

All you really need to know about Particle Fever is that it includes footage of physicists rapping. About physics. Wearing giant Einstein masks.

There's a moment, toward the end of the documentary that centers on him, when Judge Mark A. Chiavarella breaks down, his voice cracking as he mourns the likelihood that his grandchildren won't have him in their lives.

After several days of heavy rain in Los Angeles, the sun came out just as the 86th annual Academy Awards got underway at the Dolby Theater.

The big award of the night, for Best Picture, went to 12 Years a Slave. The film tells the harrowing tale of Solomon Northup, a free black man in New York who was sold into slavery. (See the full list of winners below.)

Five Dances might be the least talky movie I've seen in months — but it's plenty expressive. What it says, it says silently, or at least nonverbally, in the music-and-movement language of Jonah Bokaer's haunting choreography, which speaks of solitary strivings and the brief, passionate connections that punctuate them.

Somewhere between Tim Robbins' angry assumption about his wife's pain pills and Pink's ecstatic-dance excursion with the guy from Book of Mormon, I realized that the dealing-with-addiction drama Thanks for Sharing really, really wanted to tell me everything it knows about life in recovery. As a critic, I've gotta acknowledge the problems that kind of crowding creates for a storyteller. As a person, I've gotta admire the generosity it bespeaks.

So this here "Total Eclipse of the Heart" video has blown the heck up, tallying a million-plus YouTube plays since Scandal showrunner Shonda Rhimes tweeted a link to it. It's made the rounds of LaughingSquid and Gawker and the like, and if you haven't watched it, do yourself a favor and get that done, because you'll thank me.

I'll wait.

With Linda still out at the TCA gathering, TV is much on our minds. And as she noted yesterday, there's a whole big conversation going on about the newer modes of consuming what we still, for lack of a better word, generally call television.

(Actually, we probably don't need a better word, as "television" just means "far-sight" and doesn't have anything to do with broadcast or spectrum or modes of transmission or the technology involved, BUT I DIGRESS.)

When I was passing out assignments for this week's movie reviews, I noticed that none of my critics had raised a hand to bid for Turbo -- you know, the DreamWorks animated comedy about a sheltered suburban garden snail who dreams of racing in the Indy 500, and the scrappy squad of Van Nuys strip-mall snails who, with the help of an ethnically diverse array of down-on-their-luck shopkeepers, help him make that dream come true.

Wait, I think I've just figured out why I ended up with this assignment my own self.

It is with some joy, and also a little trepidation, that the entire Monkey See family welcomes the news that Sharknado 2 is a thing that will happen. Because really, is that singular Sharknado lightning terribly likely to strike twice?

On the other hand: The sequel will be set in New York City, so consider the quantity of hipsters who'll face flying piscine peril. [The Wrap]

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