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The Property of a Lady?: On Lashana Lynch — the First Black Female 007
Colin Burnett explores the racial politics of the Bond franchise in the wake of a new Black woman agent joining the latest film, “No Time to Die.”
Film
"There is only one thing that can kill the Movies, and that is education." — Will Rogers
Memories of a Musical Journey
Madeleine Thien on the documentary “Beethoven in Beijing,” directed by Jennifer Lin and Sharon Mullally.
Screening Deafness
Lennard Davis reviews “CODA” in the context of a recent cycle of films about Deafness and CODA (children of Deaf adults).
Historicizing Dystopia: Suburban Fantastic Media and White Millennial Childhood
Angus McFadzean explores the nostalgic and technophobic motives of the recent boom in suburban fantastic media.
Modes of Contempt: Therapists, Thrillers, and Therapist Thrillers
Ali Raz considers the “therapist thriller,” in which the talking cure stands in for the diagnostic rigors of the Hollywood screenwriting formula.
Alternative Archivists: On Jill Li’s “Lost Course”
Xueli Wang examines how Jill Li and the subjects of her documentary “Lost Course” archive an alternative history of Chinese dissent.
Beloved Objects: Two Books on Queer Fandom
Charles O’Malley compares two recent memoirs that explore queer attachments to and identification with popular culture.
The Genre Guantánamo Made
With the recent releasee of "The Mauritanian," Miriam Pensack considers the legacy of Guantánamo Bay in music, movies, books, and art.
A Vital Friendship: The Radical Naturalism of “My Octopus Teacher”
Jensen Suther puts in conversation the philosophical work of Christine Korsgaard with the recent Netflix documentary, “My Octopus Teacher.”
Watching “A Life on Our Planet,” or How I Ruined David Attenborough for Myself
Jerrine Tan ponders the colonialist and eco-fascistic messaging of David Attenborough's 2020 documentary.
The Maligned Gay Metropolis: On Glenn Frankel’s “Shooting Midnight Cowboy”
Sarah Fonseca looks at Glenn Frankel’s “Shooting Midnight Cowboy,” which tells the complicated, queer history of a legendary Hollywood film.
The Malleability of “Mulholland Drive” at 20
Suzanne Enzerink explores her own personal revisiting(s) of David Lynch’s “Mulholland Drive” through the lens of white supremacy and misogyny.
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