Television’s 1977 masterpiece Marquee Moon is the 25th Greatest Album of All Time, but is it too “too too” to put a finger on? Counterbalance sees it all backward.
Eurovision contestants subvert the events' apolitical ethos simply with their identity, which is then subverted by performer and audience subjectivity. So who, ultimately, wins?
Tim Brooks' detailed research tells us how blackface didn't die, but found ways to multiply as the entertainment industry grew.
This week we are celebrating the best post-punk albums of all-time and today we conclude with part five featuring Joy Division, Gang of Four, Talking Heads and more.
From the Enterprise to the Discovery: The Decline and Fall of Utopian Technology and the Liberal Dream
The technology and liberalism of recent series such as Star Trek: Discovery, Star Trek: Picard, and the latest Doctor Who series have more in common with Harry Potter's childish wand-waving than Gene Roddenberry's original techno-utopian dream.
I've sworn, after learning about the latest kleptocrat billionaire to buy a club, or scrambling from the clash between hooligans and riot police, or hearing a homophobic chant rise up from the stands, I would give up on the game. Anyone with sense would.
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.
In both The Avengers: Endgame and Game of Thrones, the key conflicts are not between good and evil, as one might think, but between the beginnings and endings of their stories.
Under the aegis of fluidity, Quinlan Miller advances a trans-conscious viewpoint in Camp TV that happily takes a pick-ax to more basic gender studies approaches to pop media.
Kelsey Miller's I'll Be There for You, on the production and cultural legacy of Friends, is a must-read for fans and anyone interested in understanding TV culture over the past 20 years.