The New Lurid
Sean T. Collins explores a quartet of sleazy, sensual, sensational shows from 2023 that dared to go beyond prestige-TV dramedy realism.
"Life doesn't imitate art, it imitates bad television." —Woody Allen
Sean T. Collins explores a quartet of sleazy, sensual, sensational shows from 2023 that dared to go beyond prestige-TV dramedy realism.
Sean T. CollinsFeb 8
Philippa Snow examines the anti-heroism offered by Bravo’s reality show “Vanderpump Rules.”
Philippa SnowJan 29
J. D. Connor explains what Fox’s game show “Snake Oil,” Disney’s film “Haunted Mansion,” and NBC’s crime series “The Irrational” have in common.
J. D. ConnorDec 6, 2023
Chris Yogerst reviews Kliph Nesteroff’s book, “Outrageous: A History of Showbiz and the Culture Wars.”
Chris YogerstDec 1, 2023
Slava Greenberg looks at the legacy of Netflix’s series “Sex Education” in light of its finale
Slava GreenbergNov 16, 2023
Azeta Hatef reviews the Hulu reality show “Secrets & Sisterhood:The Sozahdahs."
Azeta HatefNov 12, 2023
Recent TV series have been imagining worlds without men. What does this absence make possible? asks Elizabeth Alsop.
Elizabeth AlsopNov 3, 2023
Alessandro Camon discusses the role storytelling played in the success of the WGA/SAG-AFTRA strike in Hollywood.
Alessandro CamonOct 15, 2023
Alexandra J. Gold considers the centrality of time in the second season of FX’s “The Bear.”
Alexandra J. GoldSep 18, 2023
Ariella Garmaise reviews Alissa Bennett’s compilation of celebrity-themed zines, collectively titled “Taxidermist’s Handbook.”
Ariella GarmaiseSep 13, 2023
Henry M. J. Tonks explains how Lawrence Kasdan’s “The Big Chill” gets generational politics all wrong—and why we still need to watch it.
Henry M. J. TonksSep 7, 2023
Kathryn Cramer Brownell on the electoral transformations wrought by cable news and the evolving media landscape.
Kathryn Cramer BrownellAug 23, 2023