In its exploration of themes like paranoia, voyeurism, and loneliness, Hitchcock’s Rear Window strikes a familiar chord with the social media climate we live in today.
Although most social media sites are marked by abundance and expansiveness, BeReal operates on scarcity. Its gamification lies in the almighty two-minute window.
How the Russo-Ukraine War generated a media dimension of its own and how it linked the myths of the past century to the challenges of our own.
Simultaneously inside and outside by either choice or circumstance, punk has always had paradoxical – sometimes hostile – relations with TV, radio, and the internet.
Like Beckett’s Krapp’s Last Tape, Bo Burnham’s Inside offers rich insights into how our psyches and sense of self get warped by ever-advancing technologies.
Superhero media has a history of critiquing the dark side of power, hero worship, and vigilantism, but none have done so as radically as Watchmen and The Boys.
Tiger King -- released during and dominating the streaming-in-lockdown era -- exemplifies in real-time the feedback loop between entertainment and ideology.
Ironically, the very thing many have lamented as chief atomizer of humankind, social media, has proven to be indispensable for bringing us together — and for bringing me solace while, like Boccaccio's women in Decameron, I wait out the pandemic in the hills of Abruzzo.