’70s TV Horror/Mystery ‘Kolchak: The Night Stalker’ Keeps Crawling from Its Grave
Horror-mystery TV series Kolchak: The Night Stalker has a sour take on society that hasn’t dated since the ’70s; hence, its eternal afterlife.
Horror-mystery TV series Kolchak: The Night Stalker has a sour take on society that hasn’t dated since the ’70s; hence, its eternal afterlife.
Addressing pandemic-induced topics such as loss, grief, and mental illness, Marvel’s ‘WandaVision’ serves as a metaphor for life in the time of COVID.
Edward Everett Horton, a comedic bean pole with a voice you know from cartoons, knew how to make silent film audiences laugh–loudly.
Scepanski’s Tragedy Plus Time takes a serious look at how comedy and satire in American media make light of dark matters.
Julie Andrews’ 1960s musical Thoroughly Modern Millie does its anti-authoritarian, anarchic-chaotic thing in a different key.
An airborne virus infects the cogs in the capitalist machine in George Seaton’s What’s So Bad About Feeling Good? and makes people subversively happy.
Nida Manzoor’s punk rock comedy We Are Lady Parts beautifully captures that the performance and expression of Muslim identity are complex and multifaceted.
Actress Eleanore Pienta talks with PopMatters about the challenges of indie film work, the appeal of broken characters, and our era of political correctness.
Geeta Malik’s India Sweets and Spices is peppered with familiarity, from the settings to the snacks, in an enjoyable but incomplete package.
Like Beckett’s Krapp’s Last Tape, Bo Burnham’s Inside offers rich insights into how our psyches and sense of self get warped by ever-advancing technologies.
Emma Seligman talks with PopMatters about her dark comedy about sex work and anxiety, Shiva Baby.
Frank Perry and Jerry Schatzberg jolted audiences who weren’t used to unsatisfied and belittled housewives starring in a film, or to the concept of such people existing.