“It took office naps, rousing renditions of Motownphilly, and a whole lot of coffee.”
Late capitalism gets an antihero show.
Michael Musto looks back at some of the best, worst, and weirdest instances of performers expressing gratitude as they received their shiny trophies.
Media and entertainment grounded in empathy are a critical part of a saner culture — and we can all help by actively producing, seeking, and supporting it.
Pamela Adlon’s Better Things is not a riff on the antihero show so much as it is an antidote to it.
Emily Nussbaum talks about why TV’s relationship with its audience has become more intimate, whether we can blame Trump on True Detective, and how a TV critic’s biggest challenge is just figuring out what to watch.
The jumpsuit is great, but it won’t get you a hot priest or a BAFTA — you’re not Fleabag (or Phoebe Waller-Bridge).
Cersei Lannister could have been a great antihero, but she was on the wrong show.
The Americans shows us one way to write a female antihero.
Twenty years after its release, director Doug Liman, screenwriter John August, and others recall the production of their 1999 indie film Go.