As Niela Orr looks at Black women characters in horror films like “Us,” “Ghost,” “Whatever Happened to Baby Jane,” and “Scream,” she uncovers a throughline: “Black women have been humiliated and punished, in horror cinema as in life, for our incisiveness, for wondering aloud, for trying to get some answers.”
“The idea seems to be that we all live in the great database in the sky, occasionally summoning aliens with our minds.” Emily Harnett explores Silicon Valley’s appropriation of UFO culture.
“People don’t necessarily revolt when things are bad, but they might when things aren’t getting better, or are getting demonstrably worse.”
“For the hardcore enthusiast, with the software and the charts, astrology seemed at most an intricate hobby, convertible to modest profit at only the highest level, like translating Scandinavian languages or freelance writing.”
If there’s one clear moral to adduce from the horrifically prostrate coverage of the Trump movement’s white-nationalist profile in the mainstream press, it’s that the white-dominated media simply doesn’t care about changing in any meaningful way.
When you meditate at the art museum, you appreciate neither the meditation or the art: discuss.
An adventure as the Man Behind the Curtain for memoirs of the uber-rich.
The era Peak Television has segued directly into the Nadir of Criticism, and it’s not good for anyone.
“Believers in capitalist liberal democracies may cluck at the over-the-top Maoist inquisitions devoted to revolutionary self-criticism, but our society encourages us to practice the same extravagant self-loathing, only privately.”
Adolph Reed considers how pop culture narratives of Black “inspiration and uplift” featuring a singular (usually male) hero reflect the real-world leadership of Black gatekeepers and talking heads granted legitimacy by “elite opinion-shaping institutions and individuals.” Both, Reed claims, stifle the possibility of political change.