Thursday, November 12 2009
The Prisoner: ‘Fall Out’
The Prisoner's unapologetic payoff of surrealism and absurdism heads into that artistic realm where meaning is defined more by resonance than by immediately identifiable relevance.
Now on PopMatters
- The 10 Best/Worst Post Apocalyptic Future Scenarios in Film (Short Ends and Leader)
- The 10 Progressive Rock Epics You Need to Hear Now (Features)
- Why 'Game of Thrones' Matters (Features)
- Kanye West: Yeezus (Reviews)
- How Does Superman Shave?: A Discussion with Mythbusters Adam and Jamie (Features)
- Black Sabbath: 13 (Reviews)
- The Top 10 Movies About Movies of All Time (Short Ends and Leader)
- Will Netflix Kill TV? (Features)
- Boards of Canada: Tomorrow's Harvest (Reviews)
- CONTEST: Neil Gaiman's New Book: 'The Ocean at the End of the Lane' (Mixed Media)
- Diving for Memories in Neil Gaiman's 'The Ocean at the End of the Lane' (Reviews)
- Beady Eye: BE (Reviews)
- Aaron Sorkin’s Millennial Problem in 'The Newsroom' (Columns)
- Vampire Weekend - "Diane Young" (video) (Mixed Media)
- I Can't Break 'The Walking Dead' (Moving Pixels)
- The Way We Watch Television: 'Sherlock' By the Numbers (Columns)
- Hangout Fest 2013: Stevie Wonder Thanks You (Reviews)
- Megadeth: Super Collider (Reviews)
- "Commiserating Is Underrated in Art": An Interview with Jason Isbell (Features)
- Deafheaven: Sunbather (Reviews)
Announcements
