The dark comedy Patriot illuminates how neoliberalism makes choices for us disguisedly, using entrepreneurial agency as a fig leaf to obscure manipulation.
Many of Donald Trump’s 2025 cabinet picks came from Fox News. Would the nation be better served if he binged Looney Tunes instead?
These eight TV episodes illustrate what happened when the 1950s met the 1960s via LSD TV, leading to moments of confusion and irony, often with comical results.
Individualism was not the dominant force on the American frontier, as most Westerns would have you believe. Deadwood explores the era’s cooperation and moral optimism.
In adapting the alternative history The Underground Railroad, Barry Jenkins and his crew made cinema – a medium with origins in white supremacy – work for them.
Erik Kripke’s gory superhero satire The Boys takes a visceral plunge into political and personal tragedy, showing there’s more to fear than just corrupt superheroes.
For compelling and worrisome reasons, crime sells in our TV entertainment. The Responder, Shardlake, and Eric feed our brutal compulsion in varying ways.
The Traitors head-band wearing Parvati Shallow and Barbie‘s head-shaking Ryan Gosling tenderly scream “camp” and enthralled, we lovingly scream back.
In 13 episodes, lost TV wonder 21 Beacon Street is an uncanny and legally actionable precursor to the Mission Impossible franchise.
The mini-series adaptation of Viet Thanh Nguyen’s kaleidoscopic tale The Sympathizer is a knockout account of colonialism, war, and (the loss of) identity.
These three TV shows of early spring 2024 are the most compelling, mind-boggling, and expensive-looking ones to watch before you go back out in the sun.
At the edge of civilization where True Detective: Night Country is set there is no promise of salvation, only carnal vengeance and some comfort in the darkness.
