Fletcher Powell

Production Manager and All Things Considered Host

If Fletcher Powell could be someone else, he’d be Errol Morris or Ira Glass. Except younger and better looking.

Since he can’t, he’ll be Fletcher Powell, KMUW Production Manager and host of All Things Considered. Fletcher came to KMUW in 2009 after five years of working in the stock market (don’t ask). He feels like this line of work fits him a little better than that one did.

Fletcher has a BA in Psychology from the University of Kansas and an MA in Communication from Wichita State University. He’s lived in Wichita most of his life, aside from some brief stops in Iowa and Ohio. He likes baseball, guinea pigs, and the Oxford comma.

Ways to Connect

I don’t know this for sure, but I’m willing to bet that the movie Wonderstruck is based on a book that’s been described as “unfilmable.” I mean, it is based on a book, that much I do know. And judging by the movie, I feel pretty good saying that if the book hasn’t been called “unfilmable,” it should have been. Because while the book has been highly acclaimed, the movie doesn’t seem to be sure exactly how to do what it wants to do.

I’m not the biggest fan of superhero movies. For the most part they all run together to me, with battles that go on too long and generally have pretty low stakes, given everyone involved has super powers. And even though most of them try to be at least a little bit funny, it usually feels like the jokes have been focus-grouped to death and are just kind of there to fill time between one battle and the next.

So here we have: a movie directed by George Clooney, who made the excellent Oscar-nominated Good Night and Good Luck; a movie written by the Coen Brothers, who’ve made some of the very very best films of the last 30 years; a movie starring Matt Damon and Julianne Moore, both nominated multiple times for Academy Awards. Can’t miss, right?

Writer and director Noah Baumbach has made a career out of portraying self-absorbed characters on screen, characters who are so consumed with their own views of the world that they almost end up living in a separate reality. And with Harold Meyerowitz, the center of Baumbach’s new Netflix movie The Meyerowitz Stories (New and Selected), he may have created his greatest.

Biopics are hard to do well. Even those of us with relatively unexceptional lives would find it laughable to try to condense the whole of our existence into a couple of hours.

As I write these words, Blade Runner 2049 has made all of about $40 million at the box office, which is, so far, a pretty big financial disappointment. There are plenty of theories about why it’s not doing so hot, including the fact that it’s not drawing in much of a female audience at all. But the thing is, I don’t think the movie actually cares how much money it’s making. The studio execs probably do, sure, but if we can take a second and pretend that the movie itself has human thoughts and feelings, I don’t think its goal is to appeal to a wide audience.

It’s fun to see a tennis movie. Even when I was very young in the 1980s, I can remember being able to recognize Bjorn Borg, John McEnroe, Chrissie Evert, and Martina Navratilova. I knew about Billie Jean King and her 1973 match against Bobby Riggs, but I really had no idea of the spectacle of it, at least as it’s presented in the new movie Battle of the Sexes.

What even counts as success? Is it wealth? Is it fulfilling unbridled ambition? Is it living a life surrounded by those we love? The new movie Brad’s Status forces us to take a hard look at these questions and to ask ourselves what we really value.

It’s been said that there are only two types of stories: “a person goes on a journey” and “a stranger comes to town.” And in director Darren Aronofsky’s new movie mother!, boy howdy, does a stranger come to town.

Movie Review: 'It'

Sep 14, 2017

The humorist John Hodgman teaches us that nostalgia is a toxic impulse. He says the idea that things from our past are better than what we have now fuels the worst in contemporary culture. This doesn’t exactly capture the problems with the new adaptation of Stephen King’s It, but it gets close.