A decade ago, West Virginia foreshadowed the influence that money and politics have come to have on state judiciaries. Now it may warn of a worrying new trend.
Sophie Gilbert, Megan Garber, and Hannah Giorgis discuss Hollywood and the way it depicts abortion (or doesn’t).
Three basketball-loving writers discuss the first season of HBO’s controversial series about the 1980s Lakers.
Where Lost and Westworld spun out, the Apple TV+ show’s contained world succeeds.
How the brutal Viking blockbuster uses a millennia-old tale to undermine the toxic masculinity of myth.
How the film turns a comic-book trope into an unpretentiously profound message
Today’s Disney movies aren’t like the ones you grew up with. That isn’t a bad thing.
Why do older sounds seem to dominate music lately?
It’s all too easy to forget the victims and glamorize the grifter.
The original is “a masterpiece … but it’s also a bit of a tough watch today.”
By bringing the character back to his noir-detective origins, The Batman shows that comic-book movies can contain multitudes.
Drive My Car is a rare adaptation of the Japanese novelist’s work that brings his unique atmosphere to screen better than anything before.
“She’s trying to understand something about American masculinity and what a gossamer facade it is.”
The brutal sixth episode of Pam & Tommy should have audiences rethinking how culture treated the ’90s sex symbol.
“It’s this or porn, people.”
The real horror is the friends we made along the way.
The Lost Daughter is the rare film about a struggling mother that doesn’t excuse—or judge—her choices.
Frasier is a time capsule of its era—and yet, has aged remarkably well.
Climate change is a tough subject for any film, let alone a satire.
Can the joyfully escapist Netflix show also argue for the importance of escapism?
“There are moments that had me tearing up, and yet, I understand if people want to say this is the end of cinema.”