The second season of Apple TV’s funny, inventive, and self-indulgent comedy whodunnit The Afterparty is utterly unnecessary in the best way.
There are two Lenny Bruces: 1. the real-life subject of thoughtful documentaries and biographies, and 2. the TV/movie hip mentor and accidental deity.
Through the glow of comfort television, we experience communitas – that feeling of “the lost heaven” of the collective – and, for a time, we are relieved of our existential alienation.
Pee-wee Herman forever lives in a cosmos without a supernatural giver of laws. In such an existentialist world, Nietzsche says, we must be like children and invent a world of meaning, lest we be consumed by the great void.
Netflix represents an opportunity to internationalize and escape the pressures of a volatile domestic market in Turkish television. It has forced Turkish producers to tell Turkish stories in a globally compelling way.
I don’t need to see my likeness reflected in the world because I am already both “represented” by and reflected in the richness of humanity, and more importantly, I actively “represent” a potential for others too.
Through its storytelling method of glances, we see The White Lotus‘ critique of our tendency to extrapolate that which we do not understand, and to fill gaps in our knowledge with ideologies, mythologies, learned stereotypes, and meme-logic.
Although it imitates some Scorsese methods, rather than giving us an insight into the real Shane Warne, Warnie instead gives us a series of showreels of the controversies in his life.
The Crowded Room tries to be a psychological drama, a coming-of-age story, and a law procedural culminating in courtroom maneuvers and meltdowns – all angles that crowd its premise.
Ken Burns talks about his forthcoming PBS documentary The American Buffalo, the near extinction of the majestic beasts, and their respectful return to their rightful homeland.