The Librarians is a vital David and Goliath documentary of the fight against book banning, a harbinger of fascism, in America.
Will the iconic Nancy Drew character created 95 years ago be left in the past, or will she make her place in today’s ideal of American girlhood?
In Sue Townsend’s hands, comedy doesn’t soften despair; it sharpens it. Her creation, Adrian Mole, is a most perfectly flawed portrait of loneliness and failure.
Everything Is Now expertly demonstrates how NYC’s varied avant-garde subcultures were birthed in cold-water lofts, coffeehouses, and tiny storefront galleries and theaters.
Paul Verhoeven’s sci-fi films are like how-to manuals for neo-totalitarianism, which doesn’t rely on coups, martial law, violent suppression of the opposition press, or paramilitary factions roaming the streets to instill our obedience.
In a dim reflection of Japan’s rootless young people in 2025, the coveted literary awards, Akutagawa and Naoki, awarded … no one.
Suzie Miller’s legal drama Inter Alia is a scathing, urgent piece on feminism, patriarchy, and the ever-looming threat of our moral failures.
Spike Jonze’s Her is a work of art that is far more influential than predictive; ahead of its time in exploring the murky obsessions and ambiguities that haunt our relationship with AI.
Punk’s rooted, regional, and defiantly local identities made scenes like Louisville punk essential and life-affirming during the violently conformist Reagan years.
In our era of awe-inspiring hypersonic weaponry, we turn to Thomas Pynchon, who warns in Gravity’s Rainbow that the Rocket is never mere hardware; it is a nihilistic creed whose liturgy is speed.
If politics runs downstream from culture per the “Breitbart Doctrine”, then do far-right politics run downstream from country music?
Comedian John Fugelsang organized The Separation of Church and Hate as a reference guide to encourage conversation about the Good Book during our fraught cultural-political times.
