David Bianculli

In The Shrouds, the new thriller from the 82-year-old Canadian filmmaker David Cronenberg, Vincent Cassell plays a wealthy tech entrepreneur who's devised an unusual technology to help people still grieving their loved ones. Our film critic, Justin Chang, has this review.

In The Shrouds, the new thriller from the 82-year-old Canadian filmmaker David Cronenberg, Vincent Cassell plays a wealthy tech entrepreneur who's devised an unusual technology to help people still grieving their loved ones. Our film critic, Justin Chang, has this review.

In The Shrouds, the new thriller from the 82-year-old Canadian filmmaker David Cronenberg, Vincent Cassell plays a wealthy tech entrepreneur who's devised an unusual technology to help people still grieving their loved ones. Our film critic, Justin Chang, has this review.

Justin Chang is a film critic for The New Yorker. He reviewed The Shrouds, now playing in theaters. On Monday's show, a conversation with author and executive Daria Burke about her new memoir, Of My Own Making. It explores her growing up in 1980s Detroit amid addiction and instability and the years she spent trying to outrun that past by building a carefully curated, outwardly successful life.

Justin Chang is a film critic for The New Yorker. He reviewed The Shrouds, now playing in theaters. On Monday's show, a conversation with author and executive Daria Burke about her new memoir, Of My Own Making. It explores her growing up in 1980s Detroit amid addiction and instability and the years she spent trying to outrun that past by building a carefully curated, outwardly successful life.

Justin Chang is a film critic for The New Yorker. He reviewed The Shrouds, now playing in theaters. On Monday's show, a conversation with author and executive Daria Burke about her new memoir, Of My Own Making. It explores her growing up in 1980s Detroit amid addiction and instability and the years she spent trying to outrun that past by building a carefully curated, outwardly successful life.

I hope you can join us. Thank you. Fresh Air's executive producer is Danny Miller. Sam Brigger is our managing producer. Our technical director and engineer is Audrey Bentham, with additional engineering support by Joyce Lieberman, Julian Hertzfeld, and Adam Staniszewski.

I hope you can join us. Thank you. Fresh Air's executive producer is Danny Miller. Sam Brigger is our managing producer. Our technical director and engineer is Audrey Bentham, with additional engineering support by Joyce Lieberman, Julian Hertzfeld, and Adam Staniszewski.

I hope you can join us. Thank you. Fresh Air's executive producer is Danny Miller. Sam Brigger is our managing producer. Our technical director and engineer is Audrey Bentham, with additional engineering support by Joyce Lieberman, Julian Hertzfeld, and Adam Staniszewski.

Our interviews and reviews are produced and edited by Phyllis Myers, Anne-Marie Baldonado, Lauren Krenzel, Teresa Madden, Monique Nazareth, Thea Chaloner, Susan Yakundi, and Anna Bauman. Our digital media producer is Molly Seavey Nesper. For Terry Gross and Tanya Mosley, I'm David Bianculli.

Our interviews and reviews are produced and edited by Phyllis Myers, Anne-Marie Baldonado, Lauren Krenzel, Teresa Madden, Monique Nazareth, Thea Chaloner, Susan Yakundi, and Anna Bauman. Our digital media producer is Molly Seavey Nesper. For Terry Gross and Tanya Mosley, I'm David Bianculli.

Our interviews and reviews are produced and edited by Phyllis Myers, Anne-Marie Baldonado, Lauren Krenzel, Teresa Madden, Monique Nazareth, Thea Chaloner, Susan Yakundi, and Anna Bauman. Our digital media producer is Molly Seavey Nesper. For Terry Gross and Tanya Mosley, I'm David Bianculli.

Viewers of the first season of the rehearsal already know what a weird, unpredictable, often unsettling show Nathan Fielder's HBO series is. His concept is to prepare people for some upcoming life event – a marriage proposal, a financial confrontation with a relative, even the prospect of parenthood – by allowing them to rehearse it in advance and play out the various possibilities.

Viewers of the first season of the rehearsal already know what a weird, unpredictable, often unsettling show Nathan Fielder's HBO series is. His concept is to prepare people for some upcoming life event – a marriage proposal, a financial confrontation with a relative, even the prospect of parenthood – by allowing them to rehearse it in advance and play out the various possibilities.

Viewers of the first season of the rehearsal already know what a weird, unpredictable, often unsettling show Nathan Fielder's HBO series is. His concept is to prepare people for some upcoming life event – a marriage proposal, a financial confrontation with a relative, even the prospect of parenthood – by allowing them to rehearse it in advance and play out the various possibilities.

He trains actors to observe and approximate the other people involved, then throws his subjects into an improvised conversation. And because he digs deeply into HBO's budget, like John Oliver on Last Week Tonight, Nathan stages and photographs these rehearsals on elaborately detailed replicas of actual locations, from bars to bedrooms.

He trains actors to observe and approximate the other people involved, then throws his subjects into an improvised conversation. And because he digs deeply into HBO's budget, like John Oliver on Last Week Tonight, Nathan stages and photographs these rehearsals on elaborately detailed replicas of actual locations, from bars to bedrooms.

He trains actors to observe and approximate the other people involved, then throws his subjects into an improvised conversation. And because he digs deeply into HBO's budget, like John Oliver on Last Week Tonight, Nathan stages and photographs these rehearsals on elaborately detailed replicas of actual locations, from bars to bedrooms.

Last season, some of these social experiments were extremely funny and astoundingly original. At the same time, though, sometimes they came with an occasional, unavoidable cringe factor, as when Nathan would insert himself into the narratives and his subjects' lives and get way too close for comfort.

Last season, some of these social experiments were extremely funny and astoundingly original. At the same time, though, sometimes they came with an occasional, unavoidable cringe factor, as when Nathan would insert himself into the narratives and his subjects' lives and get way too close for comfort.