The show portrays a racially diverse society, but papers over white-supremacist interracial sexual assault and violence. Was there another way?
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).
Netflix Brazil’s 3% presents a desperate future city that nevertheless proclaims its citizens all have an equal shot at success. Sound familiar?
What if comfort TV brought no comfort? Even the most innocuous shows can transform into horror, when the monster of racism bursts onto the scene.
While some progress has been made, TV is still trying to figure out how to tell the stories of male-identified rape survivors.
All cities tell a story. But who decides what Baltimore’s next story will be?
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.
The many faces of the Kardashians are the many faces of the monstrous hydra of blackface. They must be critiqued to a cultural halt.
I May Destroy You explores how sexual violation is entangled in relations of visuality.
House-hunting and home-improvement TV shows are premised on the settler fantasy of property ownership—and that fantasy’s relationship to whiteness.
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.
Black folks can call into being an alternative relationship to TV, one that prompts a shift in consciousness and just possibly alters the future.
What future does democracy have? What future should it have? And, moreover, can the problems of democracy be solved within the framework of democratic politics?
Each year around this time we send our readers into summer with a thoughtfully curated list of the titles appearing over the past 12 months that dazzled, moved, and challenged us most.
Does viewing Emily Dickinson as unusual actually help us understand the poet or her work better?
While today’s female-friendship narratives celebrate the central bond, they are mainly about the art of breaking up.
If television is giving you something right now, what might it be telling you about what you need?
Television responded to our cultural—and planetary—existential crisis with The Good Place.
Seven years before the Emancipation Proclamation, Margaret Garner found herself cornered by slave catchers and faced with a choice. She could either ...