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Nope, Jordan Peele’s third directorial project, is part of a dying breed of theatrical films: originals. As much as Top Gun: Maverick is a jet–setting thrill ride or Minions: The Rise of Gru is meaningless fun, both films (and countless others) are franchises led by already–established characters.
What makes us hate a fictional character? Greed? Dishonesty? Immorality?
On Feb. 9, 1958, Steve Allen and the guests of his Sunday night variety series marched through the NBC studios with Dinah Shore over to the set of her own show, singing and dancing all the way. The group followed cameras around hallway corners while performing Allen’s “This Could Be The Start of Something Big.” The final product survives in video form, a wildly impressive technological feat for its decade.
As a former Jenny Han addict, I knew I had to drop everything and watch The Summer I Turned Pretty the moment it dropped on Hulu. For the uninitiated, the book–adapted series follows the story of Isabella “Belly” Conklin, a 15–year–old whose family stays in a summer home at the Hamptons–esque Cousins Beach every year, courtesy of her mom’s well–off best friend Susannah and Susannah’s two teenage sons.
For the last two months, Netflix, the biggest streaming service in the world, has released its biggest show to date: Stranger Things Four. Undoubtedly, Stranger Things is Netflix’s flagship show, racking over 1 billion hours of viewership worldwide and closing in on Squid Game’s 28–day record of 1.65 billion hours.
Watching America’s Got Talent (AGT) was a weekly tradition for my family. I was ecstatic to sit down on the couch with a mug of ice cream and watch act after act, from jaw–dropping danger stunts to elegant opera singers, performing in front of judges Howie Mandel, Simon Cowell, Heidi Klum, and Howard Stern.
Bo Burnham is back with some more “Content.” Open wide.
The human experience exists in color and motion. Visuals and emotions often capture events better than words, no matter how complex or provocative the event may be. When we see stories adapted on screen, we’re bound to gravitate towards lingering camera work, color contrasts that match the mood, and graphics that force us to look and listen. So it makes sense when Love Death + Robots describes itself as mind–bending. Its use of animation generates unseen adventure, both familiar and unfamiliar, and bends the rules for how humans see themselves in fiction.
If you frequented YouTube in the 2010s, you probably came across Marcel the Shell With Shoes On, a three–part series of under–one–minute stop motion mockumentary–style videos following a one–inch–tall shell and his tiny life within the corners of a house and the comparatively large objects within it. The brainchild of filmmaker Dean Fleischer–Camp and comedian–actress Jenny Slate (at the time a couple, since separated), the Marcel the Shell with Shoes On shorts have now been expanded into a feature–length film produced by A24 and set for a summer release.
Lisa McGee’s hit dark comedy Derry Girls wrapped up season three on May 18. While the announcement of a season three left me eager to see my favorite characters again, I was also confused, since the end of season two felt like the perfect end to both the season and the series.
Nov. 6, 2021. Saturday Night Live’s (SNL) Cecily Strong takes the “Weekend Update” stage dressed in a costume reminiscent of Loonette from The Big Comfy Couch: an eccentrically patterned button down and vest, a bowtie, and two voluminous ponytails teased out of a little fuchsia hat.
As an avid Marvel movie fan since my preteen years and a loyal follower of the Disney+ shows, I’ve been ecstatic for the release of the newest Dr. Strange movie, Dr. Strange: Multiverse of Madness. Going in, I’d been intentional about avoiding spoilers or any news whatsoever. I didn’t want to know what was going to happen. I didn’t even want to know who the villain was. I had hoped that the movie would be good, seeing the upwards trajectory that the past few Marvel shows and movies had been taking, such as Loki, Moon Knight, and Shang–Chi and the Legend of the Ten Rings.
When you type in “Heartstopper” on Google, a few pastel leaves will flutter across your screen, serving as a reminder of how author Alice Oseman’s illustrations went from a black and white webcomic series to one of Netflix’s most—watched shows of the year. After receiving a 100% average Tomatometer score on Rotten Tomatoes and sitting on Twitter’s trending chart for more than three consecutive weeks, the show was recently renewed for two more seasons due to its tremendous success.
For the past few weeks, one multiverse movie, where the fate of all universes is actually at stake, has been receiving more hype and acclaim than anything else out there. Led by an internationally recognized star, it’s flashy, making big bucks, and includes a fair amount of CGI. I’m talking, of course, about Everything Everywhere All at Once, although I did hear about some small, obscure Marvel multiverse film coming out soon, too.
“Bon Appetit!” Have those words ever been uttered more lovingly, tenderly, or warmly than by Julia Child as she signed off on an episode of The French Chef? It’s hard to say. Perhaps in France—by a maman to her bébé as she ladled some delicious concoction into a shallow bowl, or by a gourmet chef as he placed the finishing touches on the meal that would earn his Paris restaurant its third Michelin star. But in America? Not one other person can take so much credit for popularizing French cuisine and making it accessible to all as Child, who returned from France with the seminal 1961 cookbook Mastering the Art of French Cooking.
Beautiful homes. Epic Hans Zimmer scores. White women in all–white outfits. Lots of white wine. Divorce. Diane Keaton.
After 30 seasons, ABC announced last week that it had dropped network darling Dancing with the Stars following a steep decline in ratings in the coveted 18–34 demographic. However, loyal fans have nothing to fret over. Disney+ announced that it had acquired the ABC staple in what may initially seem like a surprising investment for the kid–oriented streaming service. Shock aside, its implications are vast for the platform, which has seen its subscriber growth stagnate due to a lack of adult programs.
With the COVID–19 pandemic exacerbating difficulties faced by the movie theater industry, conversations about the death of the movie theater experience have come to the forefront. But for many, movie theaters as they knew them died a long time ago.
Hamster wheels. Yodeling. A gaggle of grandmothers. You never quite know what to expect in the Eurovision Song Contest, Europe’s annual competition in which roughly 40 countries send an artist to represent their nation with an original song. The contest, which started after World War II as an attempt to heal the continent with just seven countries, has grown into an annual celebration of music, fun, kitsch, and glamor. It’s launched the careers of ABBA, Celine Dion, and Måneskin. It’s created viral moments. It’s even been lovingly satirized by Will Ferrell.
After years of yielding to the stereotypical roles of Ravi from Jessie and Baljeet from Phineas and Ferb, the unstoppable Hollywood force who is Shonda Rhimes has provided South Asians—specifically South Asian women—with a breath of fresh air. Her casting choices for Netflix's Bridgerton Season 2 in selecting two dark skin Tamilian actresses for the show’s leads, paired with the subtlety of cultural hints throughout the show, is exactly what this community has been longing for. Simone Ashley’s Kate Sharma and Charithra Chandran’s Edwina Sharma are the Parvati and Padma Patil redemption that was so desperately needed after decades.
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