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FLAVORWIRE

Who Even Cares What the Cast of ‘The Handmaid’s Tale’ Has to Say About Feminism?

Why ‘SNL’ Should Lay Off the Trump Impressions

How ‘Seinfeld’ Heralded Today’s Obsessive, Neurotic, and Inescapable TV Culture

Comedy Central’s ‘Review’ is a Merciless Indictment of Capitalism

What Jessa Crispin’s Bracing New Book Gets Wrong About Feminism and Pop Culture

How Schoolyard Drama and Domestic Violence Converge on ‘Big Little Lies’

How ‘Mozart in the Jungle’ Brought an Obscure, Avant-Garde Piece of Classical Music to Rikers Island

‘Westworld’ is Bullshit

‘The Man in the High Castle’ and the Alluring Spectacle of Fascism

‘Game of Thrones’: Why Dany’s Nude Scene Wasn’t “Empowering”

Let’s Talk About All That Lesbian Sex in ‘The Handmaiden’

Dramatizing Transience: How TV Reflects Our Shifting Concept of “Home”

‘Please Like Me’ Creator and Star Josh Thomas on the New Season, Filming Gay Sex, and Mental Health on TV

2016 in TV: A Collective Drama of Division, Pouring Out of a Million Channels

‘Game of Thrones’ and the Moral Limits of Revenge

‘Search Party’ Schools Us Brilliantly on the Art of the Twist

How ‘Shots Fired’ and ‘Rebel’ Revise the Trope of the “Strong Black Woman”

“It’s Wild West, Motherfuckers!”: Ten Years Later, ‘Death Proof’ Remains Quentin Tarantino’s Most Powerful Revenge Flick

Pepsi’s Kendall Jenner Ad is Just the Latest Example of the Brand’s Decades-Long Strategy of Co-Opting Counterculture

‘People’ Magazine’s Trump Cover and Why We Should Be Suspicious of Media That Makes Us Feel Good

‘Passengers’ Buries Its Charismatic Leads Under a Heap of Retrograde Clichés

On ‘The Girlfriend Experience,’ Sex is Business

‘Gilmore Girls: A Year in the Life’ Faces Disappointment Head-On

“It’s Still Democracy Even When You Don’t Agree With It”: Jerrod Carmichael Talks Trump, the Season 2 Finale of ‘The Carmichael Show,’ and His Beef With Bruno Mars

What TBS’s New Strategy Can Tell Us About the State of the TV Comedy

The ‘Riverdale’ Fans Who Are Hardcore Shipping Betty and Veronica

‘Why I Am Not a Feminist’ Author Jessa Crispin on Patriarchal Capitalism, Clickbait, and Feminist Art

What Hath Peak TV Wrought?

‘The Young Pope’ Is a Holy Bore

‘Orange is the New Black’s Nick Sandow on Bringing Kalief Browder’s Story to the Small Screen

On ‘The Detour,’ Domestic Life’s Not a Drag — It’s an Endless Adventure

Why Men Aren’t Funny (Or, How Spectacularly Wrong Christopher Hitchens Was About Women and Comedy)

‘South Park’ Creators: We’ll Make Fun of Anything — Except President Trump

Revolution is in the Details On ‘Superstore,’ A Funny Look at Labor Struggles

‘Difficult People’ Creator Julie Klausner on Writing Comedy with a Capital “C”

In ‘Transparent’ Season 3, Theory and Reality Collide

Why, Oh, Why Did Fox Remake ‘The Rocky Horror Picture Show’?

Please, For the Love of God, Watch ‘Survivor’s Remorse’

Why ‘Happy Valley’ Is TV’s Most Brazenly Feminist Show

THE NEW REPUBLIC

Is Confessional Writing Feminist?

The End of Torture Porn

SLATE

It Doesn’t Suck: Adam Nayman defends Showgirls

BROOKLYN MAGAZINE

Aya Has It: Why Actress Aya Cash is One to Watch

BOOKFORUM.COM

Suffer the Little Children: On Macbeth and Steve Jobs

The History of Rock ‘n’ Roll in Ten Songs, by Greil Marcus

Bookforum talks with Miranda July

THE VILLAGE VOICE

Relish the Coen Brothers’ Masterful Disorder at Film Forum

Wax Nostalgic: Martin Scorsese’s Vinyl Plasticizes Old NYC Grit

The Americans Finds Heartsick Ethics in Cable Sex and Violence

A Defense of Togetherness‘ Blinding Whiteness

Noshing With the Pfeffermans: How Transparent Gets Food and Heritage Right

First Jane, Now Crazy Ex-Girlfriend: The CW is Winning the Age of Peak TV

The Worst Man on TV: Does The Affair Want Us to Detest Noah?

Down and Out With Luchadores in Arturo Ripstein’s Neo-Noir Bleak Street

The Entourage Movie May Be a Branded Romp but it’s Easy Fun [ed. note: the headline is generous!]

Best Buds: How the Creators of High Maintenance Crushed the Stoner Stereotype (cover story)

How a Columbia J-School Student Tracked Down the ‘Patient Zero’ of Music Piracy

New Doc Thought Crimes Dives Into the Fantasy World of the ‘Cannibal Cop’

A New York Photographer Documents a Still-Segregated Town for HBO

This Woman Photographed Every Bodega in Manhattan

Bad Assery is All About Funny, Not Just ‘Funny for a Girl’

THE GLOBE AND MAIL

Michelle Goldberg’s The Goddess Pose explores the life of the woman who brought yoga to the West

Elizabeth is Missing: A deeply empathetic novel about the complexities of aging

New characters, bigger stage and folly of follicles on Veep

Girls is a painfully real and relatable comedy

Rectify offers a different take on the male lead

Strong is the new authentic: How Orange is the New Black delivers female characters we can believe in

Outlander: A fantastical journey into the past

A taboo relationship from both sides of The Affair

Following the science of seduction in Masters of Sex

Where the medicine is the drama

FX takes two shots at love with new sitcoms

The Leftovers: HBO’s latest has the reappearing dead, heavy melancholy and little faith in the viewer [ed. note: I changed my mind! I really like it now! Sue me!]

FX’s new horror series The Strain is eerie, goofy fun

Sharp, moody and something shiny and new for Canadian TV

Sir, your child is doodling on my banjo

CBC ARTS

RBC Canadian Painting Competition winner Patrick Cruz on immigration, Filipino culture and chaos

Game of Thrones director Jeremy Podeswa on TV’s rebirth

Paul Haggis: David Simon and I ‘are both men who don’t suffer fools’

Huff playwright Cliff Cardinal on solvent abuse: ‘a scary subculture that nobody wants to talk about’

NATIONAL POST

Why the sexier, softer Mozart in the Jungle is superior to Vinyl, HBO’s leather-clad disappointment 

Give me the shivas: Unlike whitewashed TV of the past, Transparent puts Jewish identity front and centre

GUERNICA

Dana Goldstein: How Should a Teacher Be?

Ben Steele: Russia’s Violent Intolerance

As time goes by

L.A. REVIEW OF BOOKS

Mad about you

The Lynchian Sensibility: An Interview with Dennis Lim

KIRKUS REVIEWS

Richard Goldstein

Kate Alcott

HYPERALLERGIC

When Commercial Television Met the Art World

THE GRID (RIP)

The art of compromise (cover story)

Comedy Bar: The club that’s making comedy fun again (cover story)

Bad medicine

Cool as Vice

The Lifetime network: Where every night is ladies’ night

In praise of girl-centric shows that break the rules

Rough bitches: Jenji Kohan’s world of women

TV or not TV?

Married to the Camera

Especially heinous: What’s the deal with True Detective’s sex-crime fetish?

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One Comment

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  1. Ms. Zarum: Just a compliment. I read your piece on the recent Dave Chappelle special. I love his comedy, and I’ll keep watching everything he does, probably forever, but I found this piece distasteful for exactly the reasons you describe. Professionals like you make intellectual argument more convenient for those of us who have other jobs to do. I can just say to my friends, “this clever chick Lara summarized my feelings precisely.” Thanks.

    Liked by 1 person

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