‘Lessons in Chemistry’ Reminds We Can’t Have Everything
Lessons in Chemistry shows that our complicated, muddled lives are burdensome, and we must endure and subvert if we are to evolve and find our foothold.
Features, reviews, interviews, and lists about television, covering the latest as well historical topics.
Lessons in Chemistry shows that our complicated, muddled lives are burdensome, and we must endure and subvert if we are to evolve and find our foothold.
Flanagan’s The Fall of the House of Usher delivers a fatal potion of Poe-haunted, nightmarish doom that brings us to our knees before the conqueror worm.
Biopic Fito Páez: El Amor Después Del Amor (Love After Music) is, among other things, a gateway into Argentina’s most celebrated rock star’s songbook.
America is a more polarized political and social landscape since the original Frasier aired. Since it was never a socially conscious comedy like many of today’s sitcoms, who is this reboot for?
The starry cast in Aaron Spelling’s adaptation of Randy Shilts’ And the Band Played On makes this message film a Hollywood spectacle as much as a work of activist pop art.
The second season of Apple TV’s funny, inventive, and self-indulgent comedy whodunnit The Afterparty is utterly unnecessary in the best way.
There are two Lenny Bruces: 1. the real-life subject of thoughtful documentaries and biographies, and 2. the TV/movie hip mentor and accidental deity.
Through the glow of comfort television, we experience communitas – that feeling of “the lost heaven” of the collective – and, for a time, we are relieved of our existential alienation.
Pee-wee Herman forever lives in a cosmos without a supernatural giver of laws. In such an existentialist world, Nietzsche says, we must be like children and invent a world of meaning, lest we be consumed by the great void.
Netflix represents an opportunity to internationalize and escape the pressures of a volatile domestic market in Turkish television. It has forced Turkish producers to tell Turkish stories in a globally compelling way.
I don’t need to see my likeness reflected in the world because I am already both “represented” by and reflected in the richness of humanity, and more importantly, I actively “represent” a potential for others too.
Through its storytelling method of glances, we see The White Lotus‘ critique of our tendency to extrapolate that which we do not understand, and to fill gaps in our knowledge with ideologies, mythologies, learned stereotypes, and meme-logic.