The most tweeted about show of the decade, “Euphoria” provoked viewers to gossip about its teenage characters. What did they say?
“The Other Two” and a spate of recent comedies claim to mock celebrities while juicing their star power for references and cameos.
The show’s white, middle-age, upper-class liberals clumsily realizing their privilege are an accurate mirror of some of its viewers.
The turn toward an aesthetic of Black excellence on TV reveals a mode of self-fashioning that celebrates neoliberal markers of merit and prestige.
“Star Trek: Picard,” “And Just Like That…,” “Bel-Air,” “Reboot”: even within our age of the reboot, old stories offer new insights.
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.
Whether destroying the Mona Lisa or whole museums, why does contemporary film and TV want us to watch the art world burn?
A work of absurdist art that entertains, but also carries a surprisingly grown-up message about taking responsibility for the state of our politics.
The family as we know it today functions to further isolate trans children from trans women and vice versa. Thank goodness for TV.
Contemporary TV series that take on Latinx life have increasingly embraced the complexity of their subject matter.
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.