The language of “optimization,” of constantly bettering ourselves as if we exist on a linear spectrum of quality, is, like Goop’s very existence, embedded in capitalism.
I avoided watching Netflix’s latest season of “The Crown” — not only so I could binge it over Thanksgiving break, but also because I was apprehensive about the major changes made to the cast of the Queen Elizabeth biopic series as it moved into a new era.
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John Green’s 2005 teen novel “Looking for Alaska” is one of the few books I actively remember reading outside of the classroom in middle school, and for good reason.
Amazon Prime’s newest anthology series, which premiered Oct. 18, follows a string of New Yorkers in search of one connection to make it all worthwhile.
Several weeks ago, I made the glorious choice to show my friend the very first episode of “Fleabag,” the British comedy-drama written by and starring Phoebe Waller-Bridge as the eponymous Fleabag.
“The Boys” is Amazon Prime Video’s latest contribution to the behemoth that is the superhero genre, a slightly grunge, antihero story that turns what audiences have come to know and expect from action on its head. Based on a comic book series of the same name, the show strikes a balance of amusing and serious critical portrayals of a massive corporation breeding celebrity superheroes.
When “Derry Girls” first came out in 2018, I immediately binged the first season, enthralled by awkward and absurd lead actors finding themselves in the most ridiculous situations. To me, each half-hour episode captured a unique part of the teenage experience, particularly one wrought with the background violence of war and division.
I dropped to the floor in horror and utter disbelief. The bus quaked with the will of the surging masses.
The question, as it always is, is why?.