Graphic fiction BTTM FDRS drags up our culture's biggest, ugliest globs of unconscious sewage and spreads it across a white page for us to see and acknowledge.
It makes perfect sense that 2019 — the last year of the decade — should also be the last year for one of the 2010s' best shows. To continue would be a disservice to viewers.
Purists who see Ian McEwan's comments about science fiction and his novel, Machines Like Me, as a slight against their beloved literary genre are missing the point.
More than any previous X-Men film, Days of Future Past engages in deeply geeky, comic book-inspired elements resulting in the best cinematic representation of X-Men comics to-date.
With his second collection of short stories, Exhalation, master of existential science fiction Ted Chiang explores AI, time travel, and alternate realities with the studious eye of an anthropologist.
The title suggests that this would be a schlocky B movie with a '70s-style grindhouse aesthetic, but The Man Who Killed Hitler and Then The Bigfoot is, in fact, a finely crafted and emotionally charged drama about ageing, loneliness, and lost love.
Pola Oloixarac's Dark Constellations is what the late Michael Crichton might have written if he had grown up in Argentina and fancied himself a high postmodernist.
The first five episodes of The Twilight Zone (2019-) developed by Jordan Peele, Simon Kinberg and Marco Ramirez, vary wildly in quality, but even the best of the bunch lack nuance and bite.
Directors Christopher Caldwell and Zeek Earl reflect on a lack of wisdom for their practical film school with their debut feature, Prospect, and an aspiration to evade the trappings of sci-fi filmmaking.
Without a set form, there can be no water-cooler talk about Bandersnatch, no collective reflection and analysis, because each viewer watched a different movie.
Mystery and discovery in Hugo Award-winning novelist Elizabeth Bear's latest work, Ancestral Night, initially hooks but it's the speculative and complex world she constructs that's most rewarding.
