As it stands, on the cusp of the approaching new decade, Netflix and the like are no different from the very structural constraints it sought to liberate us from.
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Is this one long metaphor for madness, or is The Haunting of Hill House just a very nuanced ghost story?
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Both explore the line between truth and fiction: what differentiates beliefs from facts, and where does memory fit in all that?
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It’s easy to think that Black Mirror operates on technophobia, but it has always been about people, and about how we misuse what we create.
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Too few shows illustrate that mental illness is not something that friendship erases, that love diminishes, that success eradicates.
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Martha’s role doomed her from the start: she was the rebound, for the Doctor and for the fans — and rebounds, obviously, never look good.
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A show supposedly dedicated to female empowerment is considerably depreciated when the relationship at its crux, lauded by fans for years, is the very example of what empowerment is not.
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Television shows have an invaluable opportunity, namely that of shaping the way children view the world, pushing them to question that which adults expect them not to.
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In many ways, Skins was the teenager it was trying to portray: arrogant, defiant, so hell-bent on the shock factor that we were often left with a show where wild things happened, impressing no one.
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I didn’t want the black Barbie; I prayed that my dark eyes would magically turn green or grey overnight. ... I remember asking my Dad why I wasn’t white, as if it were the most natural question in the world.
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Lane never gets the kind of actualization Rory benefits from in liberal heaps: while the latter was often rewarded for being a terrible person and doing tiresome things, I kept waiting for Lane to ‘get hers’.
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It’s all smoke and no fire when “complicated” characters spend more time telling us, rather than simply showing, that they are twisted.
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