On November 9, while you were nursing your Election Day hangover, Elisabeth Moss was up at 6:00 a.m. to shoot an episode of The Handmaid's Tale, Hulu's dystopian—and eerily prescient—fable of patriarchy run rampant, and one of the most anticipated TV events of the year.
What happens when comedy's biggest loser finally starts winning?
Don't be fooled by the binge-drinking, brutal putdowns, inventive sex slang, foul-mouth rappers, and free-floating hostility. There's no programming on television at the moment that believes more deeply in the redemptive power of love than You're the Worst.
The Emmy winner talks about the latest season of Transparent and Arrested Development's uncertain future.
She talks about giving the performance of her career in Christine, based on the true story of the troubled Christine Chubbuck.
As soon as Angelo Badalamenti's sustained synthesizer exhaled over the image of a pensive red bird in the opening credits of Twin Peaks, the way television moved, sounded, and felt had been suddenly altered. And 25 years later, that lo-fi warbling still hangs over modern music like a cocktail hour in the Red Room.
Greg Mottola got his start in the '90s indie boom and played his hand at Hollywood. After a stint in TV, he's now working on the big screen with A-list names.
Here's a list of ten of the best films ever made. They will resonate as long as humanity is interested in stories about itself. Because of a terminal tendency to play it safe and give in to groupthink, and because the world is fundamentally unfair, none of them won the Oscar for Best Picture.
Mike Mills has built a career and an aesthetic out of finding moments of quiet vulnerability, usually the type of things people would be too embarrassed to even acknowledge, and presenting them as totemic evidence of the world's beauty. With his latest film 20th Century Women, he's outdone himself.
The Academy Awards are known for honoring some less-than-stellar films, but here are ten Best Picture winners that deserved the award.
The 2016 Canon: You're the Worst Wasn't Supposed to Get Serious. But It Did, and We're Better for It.
The episode "Twenty-Two" dropped the jokes and focused on the trauma of PTSD.
But when a pretty good film beats a truly great film, or if a very popular film that's decent enough wins because of a lack of competition and the Academy's tendency to kowtow to commerce, it invalidates the entire enterprise.
A few weeks ago on a hot Monday afternoon, a handful of journalists boarded a double-decker New York tour bus for a cruise around the city, only to be confronted with the unexpected inclusion of a life-sized and unnervingly accurate replica of Daniel Radcliffe's deteriorating corpse.
Widely considered 2017's bummer masterpiece, one important aspect that should put this movie over the top, keeps getting overlooked. As Michael Tedder points out, it's also pretty funny.
Sequels are often superfluous, but such is the world we live in. But sequels that arrive a decade or more after their predecessor are an especially dicey proposition.