“Don’t Look Up” is a clunky attempt at critiquing climate change, writes film columnist Gerrit Punt PO ’24, and you’re not automatically a climate denier for not liking it.
Cancel? De-platform? Pop culture columnist Caelan Reeves CM ’24 breaks down the difference using Dave Chappelle’s recent downfall as a case study.
Pop culture columnist Anna Tolkien CM ’24 reviews the authenticity of the world of academia presented in Netflix’s “The Chair.”
From uncanny visuals to a lifeless plot, “Sweet Tooth” is not worth your watch, TV and film columnist Rorye Jones PO ’23 argues.
The episode “Pop Squad” from “Love, Death & Robots” asserts that we are responsible for individual-level change when societal change is unfeasible, argues TV columnist Simone Bogedal PO ’24.
If you’ve been thinking about watching Netflix’s “Rebecca” (2020) — don’t, warns TV and film columnist Rorye Jones PO ’23.
Netflix’s “Ginny & Georgia,” with its dramatic fake-woke dialogue and excessive plots, turns out underwhelming, Caelan Reeves CM ’24 writes.
With modern social attitudes and glittery costumes, “Bridgerton” caters more to moral messages than historical accuracy — so glossing over rape sticks out as a major error, TV and film columnist Rorye Jones PO ’23 asserts.
Pop culture columnist Anna Tolkien CM ’24 explores the depiction of common teenage challenges in “To All The Boys: Always and Forever.”
TV and film columnist Rorye Jones PO ’23 discusses how Beth Harmon’s character in “The Queen’s Gambit” helps redefine how femininity is portrayed on-screen.