(After you’re done, be sure to catch up with the Martin Casella two-parter.) “Suprisingly Awesome” has been able to mine the mundane for an unexpected amount of drama.(See: their overview of the tumultuous history behind the birth of frequent flyer miles.) But the show succeeds even when it tackles more abstract concepts.
What transpires in the latter half of this second chapter in the series is a terrifying cacophony of screams, shots and a creature that doesn’t seem to belong in our world.Strap on a pair of noise-canceling headphones, close your eyes and make sure all the lights are on when you’re finished.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.This edition of the show also shows how the different versions of love can help shape different versions of family.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.” 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.Aside from one nationally syndicated exception, panel shows have never reached the saturation here in the States that their British counterparts enjoy.But this Boston production, which gives “What’s My Line?“The Deep Vault” is a medley of throwbacks to a radio sci-fi landscape of the 40s and 50s, which thrived on monotone-voiced robots, out-of-this-world mind melds and sinister government plots.