Contrary to the intention of Ken Liu's short story, "Good Hunting", Netflix presents a superficial arc of female empowerment, then allows animation and the role of male characters to undercut that message.
David Lynch and Mark Frost's seminal Twin Peaks is rich with insight as to how both people and works of fiction can age gracefully.
Author Caleb Carr's The Alienist explores the 19th century psychiatric debate between free will and determinism. TNT's nearly identical adaptation of the novel, however, comes up with a completely different conclusion.
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.
Many fantasy writers have incorporated the visual footprint of the Third Reich into their fictional worlds. Few, however, have done so as extensively as the creator of Attack on Titan, who revisited this terrible chapter of history not to find inspiration for a fearsome antagonist, but to excavate the divisive ideas that lay buried there.
The organic growth of everyday American fascism and the understanding that pogroms are not a uniquely European phenomenon is rendered in stark and terrifying detail in David Simon's adaptation of Philip Roth's alternate historical novel, The Plot Against America.
Television show The Bold Type goes against the postfeminist notion that feminists have conquered the patriarchy, let alone their own differences.
What happens when you put an Arizona dirtbag, a human turtleneck, a narcissistic monster, and the dumbest person you've ever met in the same room? They become good people, sure, but more importantly, they become a group.
In a society of things, social responsibility requires a recognition of the influence of commodities upon our most foundational spiritual experiences. Nickelodeon's animated series, Rocko's Modern Life, puts it simply.
Damon Lindelof's over-plotted, over-anxious, daring, genre-hopping offshoot of Alan Moore's alternate-history graphic novel, Watchmen, is less a show about hunting down the bad guys than it is about the twisted turns and stubborn legacies of racist trauma in America -- and the resistance to atoning for it.
As Empress of the Fantasists, if you will, Jane Goldman's prequel to Game of Thrones promises to be far less straightforward, way messier, and much more fun -- even without the dragons.
Designated Survivor Season Three effectively criticizes the Trump administration and poses complex questions in our time of the rise of the extreme right.
Women with economic privilege are positioned to celebrate Nike's "Dream Further" ad as progress while ignoring their complicity in the exploitation of other women.
When Shaun Evans was recruited to play young Morse, he had been acting for over ten years, yet it's Endeavour that's likely his magnum opus. In this interview, he discusses the defining work that not only allowed his acting talent to blossom but also nurtured his natural storytelling ability.
Within the 26 hard-to-find episodes of Vampire Princess Miyu, there are murders, suicide, and even murder-suicides. There really is something for everyone. So why did it fail?
While Grace and Frankie is as fun as ever, season 5 suggests a sadder path for a show that has often pushed its sadness to the periphery.
Homecoming provides us with a much-needed perspective on how a white woman like Heidi Bergman appears at first to be so well-meaning, even antithetical to the "Becky" meme, yet ultimately upholds white supremacy with a friendly smile, which is perhaps even more dangerous and insidious than America's "Beckys".
In the fantasy world of AI-populated Westworld, unchecked humankind regresses into violence toward the "Other" -- just as we do in the chaotic real world. Is that the essence of human nature, to always reject its' self as seen in the visage of the Other?
Rainer Werner Fassbinder's Optimism in 'Eight Hours Don't Make a Day' Isn't Cock-eyed, It's Beady-eyed
The series of small and large triumphs snatched from the teeth of social inertia leaves one elated at human potential. Eight Hours Don't Make a Day is Fassbinder's version of a "feel-good" film.
One Day at a Time, Bojack Horseman, and Unbreakable Kimmy Schmidt each offer insight and understanding into mental illness quite unlike television shows we've seen before.
Troy: Fall of a City tries to attack our racial prejudice but reveals more about our Classical ignorance.
Amazon's Good Girls Revolt may be set in the past, but it resonates loudly with the electoral present.
It's tough playing a Nazi with a conscience, but veteran actor Carsten Norgaard not only lives up to the challenge presented in Amazon's The Man in the High Castle, but stretches beyond what's expected of him.
In The Big Bang Theory, men of the knowledge economy find themselves at the top of a power ladder, which in no way represents the old torments of the schoolyard.
It’s only fitting that one of the best television comedies of all time followed the misadventures of a comedy writer. With The Dick Van Dyke Show now on Blu-ray, the adventurous, clever series seems better than ever. And that’s no joke.
HBO's The Wire’s intentional difficulty and rigor -- along with academia’s ongoing love affair with cultural studies -- might very well explain its emerging as a centerpiece in a growing number of courses at many colleges and universities in the United States.