A Case for Pretending: Why Identity Is a Sham and Authenticity an Illusion
The tighter we cling to any aspect of self-identity, the more we suffer and the more vital it becomes to release our grip.
The tighter we cling to any aspect of self-identity, the more we suffer and the more vital it becomes to release our grip.
Romcom The Broken Hearts Gallery is aware that we are chained to technology, yet it shrouds social media in the kind of movie magic that can revive the ailing genre.
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.
David Prior’s 2020 horror film The Empty Man taps into a form of nihilism that might be taking over the world via social media.
Simultaneously inside and outside by either choice or circumstance, punk has always had paradoxical – sometimes hostile – relations with TV, radio, and the internet.
Director Magnus von Horn didn’t make Sweat to be a critique about social media despite what everyone thinks.
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.
Fandom, powered by nostalgia, is gigantic, uncloseted, and unfortunately, argumentative.
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.
Jukebox the Ghost's Tommy Siegel discusses his "500 Comics in 500 Days" project, which is now a new book, I Hope This Helps.