“Recent onscreen depictions of autistic adults reflect our growing understanding of a lifelong condition.”
“Nothing made sense this year — unless you were on the internet.”
“What I am evidence of is: You can dismiss a Black person. If you’re a young Black girl and you get raped, in the film business, no one’s going to fucking care. You can tell whoever the fuck you want, and they’ll call it an affair. Until people start taking this seriously, I can’t fully heal.”
“He would be called a murderer and a domestic terrorist. But to us, he was family. Our struggles with systemic racism were the same.”
Cop shows humanize cops. They align us with the police. They desensitize us to police violence. It’s time to turn that CSI marathon off.
“Tina Fey, Mike Schur, and 35 more TV writers on what their characters would do in a pandemic.”
McSweeny’s Internet Tendency editor Chris Monks catalogues some of the rudest responses to his rejections of humor writers’ submissions to the site.
“Ten authors on the most divisive question in fiction, and the times they wrote outside their own identities.”
“When it comes to writing the “other,” what questions are we not asking?”
Bong Joon-ho’s work reflects anxieties he feels every day—about the climate crisis, the widening income gap. “My films generally seem to have three components: fear, anxiety, and a kekeke sense of humor,” he says, using the Korean equivalent of “ha-ha.” “Humor comes from anxiety, too,” he adds. “At least when we laugh, there’s a feeling that we’re overcoming some kind of horror.” In his view, our world is already a dystopia, and all tragedy and comedy flows from this fact.