Season 2 of Netflix's Avatar is a real improvement, but it keeps flinching from the darkness that made the original a masterpiece.
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A Cannes premiere and a Singapore firestorm. But does Dear You actually earn its emotional payoff, or just tug the easy heartstrings?
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In Best of the World, Nat Geo hands the keys to Queer Eye's Antoni Porowski for a tour of four of the world's most over-documented cities.
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The Duffer Brothers build a retirement village so perfectly artificial it becomes its own horror. The alien parasites are almost beside the point.
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An octopus narrator. A grieving widow. A lonely young man. The internet wept; Matthew didn't. What that says about cosy, Netflix, and feeling.
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Season 2 of Beef serves up a subtler, more restrained form of anger, but loses the cultural specificity that made Season 1 essential.
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The Buffy revival is dead. And maybe that's okay. The show itself taught us that some things are better left at rest.
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In Netflix's Inside the Manosphere, Louis Theroux exposes the Internet's alpha males for what they really are - just boys.
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Netflix's War Machine blends military action and sci-fi to middling effect, a potentially potent concept squandered by a by-the-numbers execution.
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Welcome to Derry explores racism, family, and friendship, but its crowded storytelling and muted horror keep it from being truly great.
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Is Carol’s seething disgust of the hive mind in Pluribus a natural reaction or a culturally inherited one?
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Dr. Matthew Yap contrasts the sixth season of The Handmaid's Tale with how present day America is swinging perilously towards Gilead.
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Once again, Disney's Zootopia 2 excels at using animals as a metaphor to tackle some deeply uncomfortable aspects of humanity.
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Edgar Wright’s Running Man blends dystopia, satire, and Stephen King’s early '80s rage into a strikingly relevant 2025 adaptation.
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With Frankenstein, Guillermo del Toro may have taken his penchant for sympathizing with monsters a little too far.
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How does Liam Hemsworth fare as Henry Cavill's replacement? Does Netflix need to stop trying to make The Witcher happen?
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Dr. Matthew Yap argues that Paul Greengrass' The Lost Bus is modern manhood and fatherhood under duress, but it is neither fragile nor toxic.
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Does the ending of The Long Walk capture the nuances of race relations in America? Or is it just another movie that steals agency from a Black man?
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Season 3 of Alice in Borderland feels like a shameless cash grab that exists purely to coast off the popularity of Squid Game.
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Murderbot stands apart from other robot stories by focusing on a postman character that has no desire to be anything like us.
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