Some argue that AI is too derivative. But in Hollywood, shallow riffing on preexisting IP is a lucrative skill.
Let’s revel in anticipation of the televisual pleasures the new year will bring.
As the latest fight over Maus erupts, its artist-creator searches for his eyeglasses.
«“Losing your glasses,” Spiegelman says. “It’s like …” He pauses. “You’re going to lose everything. That’s how it works.”»
The 91-year-old book editor would like his 87-year-old star writer to finish his latest book.
From the Marx Brothers to The Simpsons, Richard Pryor to Amy Schumer: 100 bits, sketches, and one-liners that changed humor forever.
From Weird Al to Pete Buttigieg.
Literary critic Molly Young offers a witty dissection of how today’s businesses – especially start-ups, creative firms and online companies – spawn nonsense corporate slanguage and self-deluded gibberish. Young’s keen ear and sharp tongue will provide relief and amusement to anyone who’s endured a meeting replete with nonsense terminology, such as “parallel-pathing, growth hacking, upleveling” and “blitzscaling.”
Ten authors on the most divisive question in fiction, and the times they wrote outside their own identities.
The critic and author of the Charles Lenox series advises doing what Michelangelo did, but backward.
One insomniac’s journey into sleep research to understand what screens before bed are doing to our brains.
2019 has ushered in a new, more moneyed phase for the medium.
We spoke to dozens of insiders and creators about 2023 trends, gripes, and potential pitfalls.
Jerry Saltz on eating and coping mechanisms, childhood and self-control, criticism, love, cancer and pandemics.
A deep look at what happened to the company, and what will happen next.
Whether they come after, before, or between their predecessors, these films have created their own indelible legacies.
From Bugs Bunny to Spike Spiegel to Miles Morales, retracing 128 years of an art form that continues to draw us all in.
The streaming platform raised $1.75 billion and secured a roster of A-list talent, but it can’t get audiences to notice.
Good finales offer catharsis. The best deny us closure altogether.
It’s been ages since the last blockbuster narrative show. What does that mean for the medium as an art form?
TV perfected the cop show, metastasized it, and then franchised it into ubiquity. How does that affect the way audiences think about police?
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