The most powerful woman on television is back on television, where she belongs. We need her, more than ever.
Three decades after its thunderous arrival, Swervedriver’s sonic legacy is in the history books. Unfortunately. It has to share space with climate crisis authoritarians
Fifty years ago, The Beatles tragically left us, after changing the world for almost a decade. And what they left us with, like much of what they made, sequenced the genes for the recombined culture to come.
The bad news? A decade later, Deepwater Horizon remains one the worst environmental disasters in human history. The good news? A decade later, oil is dead.
A decade ago, I wrote about the myriad ways our planet would refuse to put up with us. Today, I look back, during a global lockdown, as a zoonotic dystopia borne from our ceaseless invasion of Earth ravages so-called civilization.
Zoonoses are infectious diseases that fatally strike back after humanity extracts too deeply from their non-human environments, which are under repeated siege from capitalism and worse.
What I wanted this year was one of the greatest animated series ever, created by one of the greatest animators ever, to blessedly return for a second chance at changing programming as usual.
We’re on the right track to solarization. We just need speed up the pace, brighen up this planet, and save our sorry asses.
Correcting an historical injustice, El-P’s singular, relevant back catalogue will finally return to the land of material and digital reality.
Givng thanks on Thanksgiving for the letters DJ Shadow has been sending, explaining why and where and how the music from his latest, perhaps greatest effort, Our Pathetic Age, was born.
A decade ago, I helped give birth to a movement. It doesn’t matter if anyone knows. All that matters is the movement.
Now celebrating its 20th anniversary, director Brad Bird’s masterpiece of war and peace has only grown in legend and influence
Elite powers cashing in on actual historical crises whose failures literally led us to where we are today.
When comics influential Karen Berger left DC Comics after leading its mature, visionary imprint Vertigo into the history books, I wrote at Wired that Vertigo would soon follow. I was on or off by a few years, give or take a few years.
Princess Mononoke meets The Never-Ending Man, as Hayao Miyazaki’s blessed return inches closer to the cli-fi future he chronicled, as it happened.
A decade ago, I talked to the Pacific Institute about their report predicting that the coastal metropolis of California, the world’s fifth largest economy, would be swallowed by global warming.
Matthew Rankin’s surreal, synesthesic short film The Tesla World Light is finally free for all to see. Let us hope Nikola Tesla’s utopian hope for free energy isn’t far behind.
…the dark cipher who rises with our aspirations and sinks with our capitulations
It’s amazing to think I’ve been interviewing Grant Morrison for over a decade now, having read his experimental comics masterpieces for much longer than that. It’s been deep.
Writing about animation provides me the opportunity to probe the minds of brave filmmakers working against stereotype and industry. That struggle found an apotheosis in the surreal fever dream of Birdboy.
Earth is inspiring, even in the midst of failure. This is an important lesson I learned after interviewing director Robin Joseph about his stunning animated short, Fox and the Whale, a homemade, hand-drawn cli-fi fable debuting, to Oscar acclaim, in a world on fire.
I’ve been looking forward to interviewing Nora Twomey, especially now that her empowering adaptation of The Breadwinner has arrived, with the aid of Angelina Jolie, to shine a light back on Afghanistan, still in the crosshairs of the longest war in American history.
One of our most persistent fictions of climate change is that the food industry, whose waste and emissions must be brought under immediate control if we are to survive the Anthropocene, can live without immigrants, whose existence puts the lie to nations and nationalism.
Call it syndication, or call it the sharing economy. It feels good to see your hard work spread across the spectrum. So thanks to Quartz for picking up my Civil Eats explainer on the Farm Bill’s doom.
As the political and entertainment establishment continues to reject toxic masculinity and industry, the mounting movement to place our attention and investment on productions and issues truly worth the global public’s time and money is reaching critical mass