John Powers

John Powers is the pop culture and critic-at-large on NPR's Fresh Air with Terry Gross. He previously served for six years as the film critic.

Powers covers film and politics for Vogue and His work has appeared in numerous publications, including Harper's BAZAAR, The Nation, Gourmet, The Washington Post, The New York Times and L.A. Weekly, where he spent twelve years as a critic and columnist.

A former professor at Georgetown University, Powers is the author of Sore Winners, a study of American culture during President George W. Bush's administration.

He lives in Pasadena, California, with his wife, Sandi Tan.

Copyright 2015 NPR. To see more, visit


Copyright 2015 NPR. To see more, visit



America is hooked on stories of redemption and rebirth, be it Cheryl Strayed rediscovering herself by hiking the Pacific Trail or the late David Carr pulling himself out of the crack-house and into The New York Times. We just love tales about healing.

The satisfying thing about TV crime shows is that they offer a sense of closure. The unsatisfying thing is how much of life they must leave out to do it. Like, history. Whether you're talking CSI or Sherlock, crime shows tend to take place in a weirdly hermetic universe where the characters may change — like in True Detective — yet the historical moment in which they live remains largely irrelevant background.

In the years following the invasion of Iraq, it became a truism that Americans simply didn't want to hear about the war — especially at the movies. While there were scads of films about Iraq, including Kathryn Bigelow's Oscar-winning The Hurt Locker, none was able to attract a big audience. Until American Sniper.