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The new incarnation is mostly unrecognizable: It’s a mature, refreshing departure that sacrifices pizzazz for profundity and cutesiness for craftsmanship.
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Unlike most award show nominations, the GLAAD award nominees provide a unique introspection into the media that queer people can most easily see themselves reflected in.
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Pushing audiences back and forth through the thin dividers of the surreal and the real, “Queen & Slim” glides between the humanization and dehumanization of its lead characters.
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The theme for Monday night’s Metropolitan Museum of Art Costume Institute Benefit was “Heavenly Bodies: Fashion and the Catholic Imagination.”
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Spielberg elicits an infectious sense of wonder that’s only topped by “Jurassic Park,” a genuine pathos missing from his late-career period pieces.
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Perhaps to compensate for the overarching feeling of impending doom, the story arcs are largely on the lighter side of the emotional spectrum.
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Whether on our laptops or in our living rooms, television has always been a space of escape, in which our ideologies are reflected back to us.
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The Emmy Awards, much like their film, theater and music counterparts, are annually greeted with both excited buzz and exhausted indifference.
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Over the course of just 10 episodes, the first season of Netflix’s “Master of None” won over audiences’ hearts with its relatable and genuinely funny musings on love, loneliness and the all-encompassing struggle of being a millennial. A year and a half later, the second season of “Master of None”
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