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.
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 2019, a spotlight on queer musicians and fast-paced broadcast made the Grammys have some real cultural relevance. Its 2020 edition, clouded by tragedy, scandal, and bloat, only served to remind us why award shows are so problematic.
Mister Rogers and Philosophy considers reality, fantasy, and our philosophical role in both worlds of the long-running PBS children's program, Mister Rogers' Neighborhood.
What is it about Penn Badgley's toxic and creepy Joe Goldberg in You that keeps viewers coming back?
For a show that so cynically pokes holes in the inanities of our plastic, apathetic world, The Simpsons' rough-edged bedrock of brilliantly conceived sentiment can cup a heart without compromising comedic integrity.
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.
Who is man? Who is monster? Apollonian and Dionysian dichotomies are at play in the video game series, The Witcher, soon to be a Netflix series.
Amazon's eight-episode animation, Undone is a poignant reflection on grief, loss, mental illness, and heritage.
As Showtime's brutally honest Nurse Jackie showed, there is nothing glamorous about addiction. It is a harrowing experience, and HBO's Euphoria, season one, fails to capture that.
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.
Phoebe Waller-Bridge's Fleabag forces viewers to sit down at the dinner table with "the family", which is a game of conversational hot potato -- and nobody wants the f*cking potato.
Made for TV programs of the '70s really knew how to dish it out. Michael Crichton's Pursuit is all about men conquering each other; whereas Lee Philips' The Girl Most Likely To is a poisoned bon-bon about making pain palatable.
Film/TV score composer Cliff Martinez talks with PopMatters about his work with Steven Soderbergh, Harmony Korine, and Nicolas Winding Refn, whose new series Too Old to Die Young features one of Martinez's most ambitious scores to date.
At its best, animation comedy show King of the Hill asks, Why are"race" issues in America always about white people?
The German-language sci-fi thriller Dark perfectly captures the unsettling experience of being trapped by history.
Designated Survivor Season Three effectively criticizes the Trump administration and poses complex questions in our time of the rise of the extreme right.
Portraying promising singer-songwriter Scarlett O'Connor on Nashville, Australian Clare Bowen learned a lot about the Music City … and herself. Bowen tells us about her journey in this extensive interview.
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.
Tuca & Bertie is decidedly female-centric and bold, featuring -- among other things -- a plethora of boobs: boobs on pastries, on plants, and boobs shaking on buildings.
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.
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.
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.
Ramy's representation of the Muslim-American experience, the first-generation immigrant experience, and the bilingual experience, is a necessary and welcome addition to the millennial dramedy genre.
David Cross, the alum of comedy classics like Arrested Development and Mr. Show, talks Trump, time travel, and his penchant for coming up with terrible names for his standup specials.
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?
The first five episodes of The Twilight Zone (2019-) developed by Jordan Peele, Simon Kinberg and Marco Ramirez, vary wildly in quality, but even the best of the bunch lack nuance and bite.
Gross-out comedies like Paul Feig's Bridesmaids and boy-child juvenilia from the worlds of Adam Sandler and Judd Apatow would be nowhere without the standard set by Mel Brooks.
Without a set form, there can be no water-cooler talk about Bandersnatch, no collective reflection and analysis, because each viewer watched a different movie.