
Charli XCX Immortalizes a Moment
By satirizing Brat’s success, The Moment argues that Charli XCX is ambivalent to the accolades she cannot help but chase.

By satirizing Brat’s success, The Moment argues that Charli XCX is ambivalent to the accolades she cannot help but chase.

MGM musical Lovely to Look At is gorgeous stuff; the colors bleed so richly and profusely that they spread across the frames like melted crayons.
These best TV shows you may have missed include a show that’s ludicrously funny, one filled with scattershot mayhem, one that’s brutal and macabre, and a surreal comedy.

The Incredible Snow Woman takes in its difficult, dysfunctional, and quirky protagonist and warmly embraces her.

Gwyneth Goes Skiing delights in the absurdity of the Gwyneth Paltrow lawsuit and snowballs theatre-goers with meta-commentary on the proceedings.

In Hollywood’s eternal battle between the puritan and the prurient, Promise Her Anything shows the puritan still holds the whip. Oh, baby.

Jim Jarmusch’s low-key comedy of awkwardness, Father Mother Sister Brother explores the things we can never know about our families.

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.

Western comedy Legend of the Happy Worker is unabashedly a message-oriented film, and its focus, like other fables and parables, is to deliver it in the least complicated way.

The vivid depiction of motherhood in Mosquitoes echoes Marguerite Duras’ sentiment; mothers are “the strangest, craziest people we’ve ever met.”

The sitcom is a creation of spare parts salvaged from dying vaudeville and thriving radio welded together by performers who understood the power of physical shtick and the intimacy of invisible theatre.

For Crying Out Loud: How Louie Anderson’s televised therapy sessions created the saddest, funniest cartoon of the 1990s.