Prestige TV, which has a presumptively liberal audience, churns out a steady diet of illiberal fare. Shows like “Succession” force the viewer to ask why.
Shows like “The White Lotus” distract us with progressive politics, while stealing our eyeballs for the very people the shows lambaste.
The family as we know it today functions to further isolate trans children from trans women and vice versa. Thank goodness for TV.
At its core, noir is a feeling: realizing one’s own helplessness, when faced with the vast networks of power that control everyday life.
Each May we send our readers into summer with a curated list of the titles that dazzled, challenged, and inspired us most over the past year (or so).
While some progress has been made, TV is still trying to figure out how to tell the stories of male-identified rape survivors.
Even with its ambitious and compelling premise of robot revolution, HBO’s Westworld lacks the imagination to follow the story to its logical outcomes.
Lovecraft Country runs on a formula: genre clichés—however racist—only need to be painted over, so as to be enjoyed without guilt.
I May Destroy You explores how sexual violation is entangled in relations of visuality.
To understand Silicon Valley, first examine the stories it tells about itself; just like, to understand the Victorian age, first read writers like Dickens and Dreiser.
“I know your generation relied on flowers and fathers’ permission,” says Rue, the protagonist of HBO’s Euphoria, “but it’s 2019, and unless you’re Amish, nudes are the currency of love, so stop shaming ...