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.
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.
Shannon Purser discusses her debut role in film, Sierra Burgess Is a Loser, catfishing, and the unrealistic expectations imposed on today's youth.
A Spy In The House of Loud works best on quiet stages, taking singular trips down clearly paved roads with definite endings.
Comedy is a cruelly subjective art form, and not much of it survives outside of its time frame.
Eschewing nostalgia, filmmaker Neville of Won't You Be My Neighbor is far more interested in Fred Rogers' ideas than his biography.
This may be a clever homage to classic hard-boiled detective fiction from the '40s, but Archer in Dreamland is not the wild man we've come to love/hate.
The first season of this icily horrific series is a crash course in the possibilities of a uniquely American 'It Could Happen Here' patriarchal Christian fascism.
The Outer Limits is a mix of science fiction, nightmares, and surrealism -- the very things that make life worth living even though they scare the bejeebers out of us.
Rogue filmmaker Alex Cox ties The Prisoner's island mentality and palpable "cupcake fascism" to current political events, including Brexit, in I Am Not a Number.
Curb Your Enthusiasm's well-established characters are reacting to their former selves, rather than inhabiting or reinventing themselves. Thus, it loses the rhythms and inflections that once made the show so consistently, diabolically funny.
Emmy-winning Composer Mac Quayle is one of the best in the TV soundtrack business. His mastery of synthesized instrumentation is perfectly suited to Mr. Robot's theme.