The Disney Theme Parks are dismantling the decades-long ride Splash Mountain. It will be resurrected as Tiana’s Bijour Adventure. Why has the Song of the South-inspired ride finally gone South?
The characters in Craig Mazin’s hit series, The Last of Us, are just like the rest of us – violent, tyrannical, and on the verge of being irredeemable. Yet we hope for them, still.
Situating his study at sites of conflict and interviewing artists, scholar John Lennon’s Conflict Graffiti gives readers new perspectives for interpreting the graffiti and street art they encounter.
In The Listeners, scholar Brian Hochman narrates a history of surveillance in the United States by means of technological cunning up to 2001.
Lauren Berlant’s oeuvre provokes ambivalence. As with their posthumous collection On The Inconvenience of Other People I consume Berlant, and Berlant consumes me.
Inspired by Japanese Buddhism and American pop culture, the grotesque is a metaphor for normalcy in the horror video game Silent Hill.
Frank Capra’s America is always on the edge of madness and nightmare. The deeper you dig into his Arsenic and Old Lace, the darker and queasier it becomes.
Death Panel podcasters and Health Communism authors argue that the unemployed, maligned, “burdens” of the state are essential to capitalism’s ill-gotten profit.
There’s a danger to Frank Perry’s 1972 film adaptation of Joan Didion’s novel Play It As It Lays, and that’s why we’ve subdued it for so long. Now 50 years later, it’s time to unleash the beast.