Writing on Pop Culture


Narratives of Collapse: ‘Melancholia,’ ‘Take Shelter,’ and ‘Children of Men’

In Fits and Stops: Coming of Age in Anna Rose Holmer’s ‘The Fits’

The World Is Ending and I’m Terrible at My Job: ‘First Reformed’ and ‘Winter Light’

‘Room’ and the Allegory of the Cave

‘Inglourious Basterds’ and the War on Terror

‘Eyes Wide Shut’ and the Paranoid Style in American Pop Culture

‘Midsommar’ and the Problem of Grad School

Everything in Its Right Place: ‘The Shining,’ ‘Pan’s Labyrinth,’ and ‘Beasts of the Southern Wild’

Bergman on Mars: Lars Von Trier’s ‘Melancholia’

‘Clearly, Someone Is Controlling This Here Water’: ‘Rango’ and the Recession

‘Get Out’: The First Great Film of the Trump Era

This Is ‘Us’: Black and Bougie

Watching ’12 Monkeys’ in a Post-9/11 World

Finding Family with the ‘Wilderpeople’

Longing for Mr. Rogers

People Like Us: Hollywood Looks at Middle America in ‘August, Osage County’ and ‘Nebraska’

‘The Lego Movie’ and the Gospel of the Creative Class

Reading Piketty at ‘The Grand Budapest Hotel’

Not Sorry to Bother You: Boots Riley’s Insanely Radical Film Bum Rushes Neoliberalism

The Discreet Charm of the Gizmosie

Time, Fate, and the History of the Future in ‘Looper’

God Don’t Make No Junk? Todd Solondz’s ‘Palindromes’

Maps to Nowhere: David Cronenberg Takes on Hollywood, for Better or Worse

What Alex Garland’s ‘Annihilation’ Was Really About

‘Eternal Sunshine’ and the Science of the Spotless Mind

‘Jurassic World’: Hollywood’s Epic Ode to Woman-Shaming and Mansplaining

The Exquisite Exquisiteness of ‘Carol’

Ingrid Goes Insane: Instagram, Mental Illness, and a New Aesthetic