As extremist minorities corrode social liberties, it’s time to take our rusting democratic values to Joe’s Garage where Frank Zappa waits with his sleeves rolled up.
Bo Burnham creates a warm and inviting mood and ironic comfort when he sings “That Funny Feeling” in his comedy special, ‘Inside’.
Marx’s death pact is made literal in Sarah Gailey’s Eat the Rich, a remarkably fun comics series given its subject is the horror of capitalism.
Director Carey Williams and writer Kristen Dávila talk about channeling their racial experiences and observations into comedic social commentary, Emergency.
Emergency is an unconventional love story about two friends with divergent views on what it means to be a young Black man in America.
Riley Stearns’ ‘Dual’ is an uncomfortable black comedy that asks the painful question: Are being loved and being true to yourself mutually exclusive?
Ousmane Sembène’s Mandabi (1968) unravels Senegal’s post-colonial entanglements and centers African people, places, and experiences at every frustrating step.
George A. Romero’s The Amusement Park (1973), showing at Salem Horror Fest, terrifies with what the future brings to all who dare to live.
Scepanski’s Tragedy Plus Time takes a serious look at how comedy and satire in American media make light of dark matters.
Easy to summarize but difficult to, um, flesh out, Chelsea G. Summers’ A Certain Hunger is, without a doubt, the Great American Female Serial Killer Novel.
It's the privilege of satire to apply one's opponents' "logic" towards a reductio ad absurdum, as we see in The City without Jews.
Randy Newman's satirical narrators lack self-reflection. This makes Newman the ideal songwriter to dismantle what would come to be called toxic masculinity.
