Critic Mark Fisher never stooped to suckle the masses; nor did he fluff the pillows of academics. Colleagues Simon Reynolds and Darren Ambrose provide insight into Fisher's posthumous book, k-punk, and his intriguing legacy.
Suketu Mehta offers a powerful, angry, and brilliant defense of immigrant rights in This Land Is Our Land: An Immigrant's Manifesto.
Our pop culture landscape is controlled by capitalistic saturation and a deeply-entrenched machismo ethic. It might not be powerful enough to erase Agnès Varda's genius, but it is shameless enough to eliminate her from the common discourse.
Creating a culture of consumption in 20th century Chicago meant making space for shoppers, which meant integrating women into public life, in a downtown dominated by men. Historian Emily Remus revels in the ramifications of that cultural shift in A Shoppers' Paradise.
Drummer and composer Mark Guiliana carries an acoustic jazz quartet and an electronic music collective with equal passion. In this interview Guiliana explains how varied influences coexist in his mind and his music.
In Out of Our Minds, Fernández-Armesto encourages readers to distrust visionaries who promise perfection.
Journalist Katya Cengel's memoir, From Chernobyl with Love, is more illuminating of the American mindset than it is of Latvia and Ukraine.
Jia Tolentino's first collection of essays, Trick Mirror, expertly navigates how the byproducts of capitalism and the Internet permeate culture, values, politics, and the daily lives of people worldwide.
Dark Phoenix makes it clear that the X-Men, as socio-political commentary, must take their own metaphor more seriously and evolve, already.
While Keiji Nakazawa never hesitated to loose his wrath on fascist or right-leaning tendencies through the fury of his irrepressible cartoon hero in Barefoot Gen, Takeo Aoki's Hiroshima's Revival weaves a more cautious path through the political jungle of wartime memory.
Readers of Library of America's collection of Whitman's late in life thoughts will be hard-pressed to miss the priorities—or their timely relevance—of his clarion call that "American must welcome all—Chinese, Irish, German, pauper or not, criminal or not—all, all, without exceptions: become an asylum for all who choose to come."
Like a Good Housekeeping magazine cover, Val Kilmer's Bruce Wayne is Batman in a sweater with a pot roast in the oven. Why does that make some men squirm?
In Pat Buchanan's 1992 presidential address he evoked fear of "crossdressers in our midst" as a metaphor for the infiltration of liberal political culture. Grant Morrison's The Invisibles comics proved he had reason to fear.
Some might think that the influence of politics and economics in a censored art world might harm Chinese artist Cao Fei's efforts to provide real critique.
Historian Richard Noakes interviews with PopMatters on his work, Physics and Psychics, forthcoming from Cambridge University Press, which offers fascinating insights into the 'heretical' activities of some of the most eminent scientists in Victorian Britain.
By staging a thinly veiled version of Harvey Weinstein – played by John Malkovich in a fat suit – David Mamet aims for controversy in Bitter Wheat.
Rob Marshall's upcoming The Little Mermaid, starring Halle Bailey in the traditionally white character role of Ariel, sure has stirred things up in the sea of social media. Disney-glittered little girls, it seems, see it differently.
At its best, animation comedy show King of the Hill asks, Why are"race" issues in America always about white people?
Scholar Qiana Whitted's EC Comics: Race, Shock & Social Protest explores a different path in EC Comic's history: their work with social justice stories and the resulting censorship in 1950s America.
As in the America of the 1970s -- with its political corruption, war, economic straits, and fatalism -- Robert Altman's Brewster McCloud resonates loudly in these times. Shall we join the circus freaks dancing on the grave of an absurd and unjust society?
Designated Survivor Season Three effectively criticizes the Trump administration and poses complex questions in our time of the rise of the extreme right.
Culture and media critic Kate Eichhorn's The End of Forgetting explores how relentlessly documenting young lives allows little room for the unfettered joys of imaginative freedom and perpetuates a seemingly endless state of childhood.