THE NEW YORK TIMES
‘Mrs. America’ Depicts a Different Kind of Feminist: The Anti- Kind
‘Deal or No Deal’ Gets a Revival, but Should Its Bevy of 26 Models?
Those Wild ‘Masked Singer’ Costumes? She Designed Them
Stan Lee’s 11 Best Cameos and Where to Stream Them
Some Viewers Think Netflix Is Targeting Them by Race. Here’s What to Know.
9 Things to Watch on Hulu Right Now
10 Recent Netflix Originals Worth Your Time
‘My Brilliant Friend’: Here’s What to Know About the HBO Adaptation
Looking for Escapism? Stream These Great British TV Shows
THE VILLAGE VOICE
Brainstorming the Revolution With Sorry to Bother You Director Boots Riley
The Oral History of ASSSSCAT, the World’s Longest-Running Improv Show
Bill Hader on Barry, Reading the Russians, and Learning to Write on South Park
Michelle Wolf is the Voice Comedy Needs Right Now
How The Deuce Recreated the Naughty, Bawdy, Gaudy World of Old Times Square
Laurie Metcalf’s Four-Decade Overnight Success
Can Roseanne Make Roseanne Great Again?
Hannah Gadsby and Comedy’s Toxic Masculinity Problem
Jordan Klepper’s Struggle to Fight Parody With Parody
The Case for More, Hotter Fish Sex in The Shape of Water
Gillian Flynn and HBO’s Sharp Objects Cuts to the American Bone
Scott Thompson on Buddy Cole and the Plight of the Queer Comic
Lakeith Stanfield Is Ready for Top Billing
Relish the Coen Brothers’ Masterful Disorder at Film Forum
Greta Gerwig’s Lady Bird Is a Divine Comedy About Growing Up Weird in the Class of ’03
Jen Kirkman on Election-Night Anxiety, Touring as a Woman, and Dealing With Rumors
Wax Nostalgic: Martin Scorsese’s Vinyl Plasticizes Old NYC Grit
Wow, Catherine Cohen Has an Amazing Voice
The Americans Finds Heartsick Ethics in Cable Sex and Violence
Noshing With the Pfeffermans: How Transparent Gets Food and Heritage Right
Eastwood, Hollywood, and the Limits of the Everyday Hero
At Long Last, the Movies Have Killed the Ingenue
Great News Is Hilarious. Why Won’t NBC Get With the Program?
Too Big for Satire: Sacha Baron Cohen and Sarah Silverman Miss America
First Jane, Now Crazy Ex-Girlfriend: The CW is Winning the Age of Peak TV
Rise Just Doesn’t: NBC’s Musical-Theater High School Drama Is Friday Night Lite
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)
Blue Planet II Will Blow Your Mind and Break Your Heart
ROLLING STONE
Both Sides Now: Why Sex Rules in Hulu’s ‘The Bisexual’
Body Politics: TV’s Slow Push Toward Size Acceptance
The Joy and Heartbreak of ‘Cheer’
‘My Brilliant Friend’ Season 2: A Study in the Source of Female Rage
VULTURE
The Good Place Isn’t About Heaven and Hell, It’s About the Internet
The Talent-on-Talent Interview Has Reached Its Apex With BFFs Meryl Streep and Tracey Ullman
THE WASHINGTON POST
Late-Night Shows Still Make Fun of Politicians’ Looks. Are These Jokes Justified — Or Even Funny?
4 COLUMNS
“True Detective” Season Three Review
DECIDER
‘Space Jam’ Paved The Way For The Gluttonous Corporate Cross-Branding Of ‘Ralph Breaks The Internet’
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
‘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”
‘Game of Thrones’ and the Moral Limits of Revenge
‘Search Party’ Schools Us Brilliantly on the Art of the Twist
‘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
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
‘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)
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?
MIAMI NEW TIMES
HBO’s My Brilliant Friend Honors the Intimate Power of Elena Ferrante’s Novels
HBO’s Camping Makes Time With Jennifer Garner a Total Chore
L.A. WEEKLY
I Think We’re Alone Now Makes an Apocalypse With Peter Dinklage Kind of Blah
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 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
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!]
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’
NATIONAL POST
Why the sexier, softer Mozart in the Jungle is superior to Vinyl, HBO’s leather-clad disappointment
GUERNICA
Dana Goldstein: How Should a Teacher Be?
Ben Steele: Russia’s Violent Intolerance
L.A. REVIEW OF BOOKS
The Lynchian Sensibility: An Interview with Dennis Lim
KIRKUS REVIEWS
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)
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
Especially heinous: What’s the deal with True Detective’s sex-crime fetish?
Lara Zarum 
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.
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