Elite powers cashing in on actual historical crises whose failures literally led us to where we are today.
Captivated by global warming and shortly before I called it cli-fi, I researched and reported the myriad ways life on Earth could die. Few were more terrifying than hydrogen sulfide.
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.
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.
A quarter of a century ago, I turned my back on our revolution. As the reprogramming accelerated, I slowed time by pursuing love. But it was not enough.
…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
My latest investigation for Civil Eats is not so much alarming as predictable. The current presidential administration, already an international laughingstock, has targeted farmers markets for elimination. The punishment? Death by pointless cuts.
Some of the most influential animation in history have come from the hearts and minds of Phil LaMarr and Carl Jones, including The Boondocks, Samurai Jack, and more. That was all I needed to pick up the phone.
It may not seem like we need to have a three-day festival in Hollywood celebrating animation as cinema with a capital C. But if that was the case, I would not have spent the weekend with my girls in Hollywood at the Animation Is Film festival.
In a globally warming, warring world where Americans throw away half the food they grow, nourishing activism with a heart and mind in service of renewable peace is paramount. Enter author Julia Turshen, who I profiled for Civil Eats.
This investigation for Civil Eats is about the terminology we take for granted so that billions of dollars can exchange hands in the organic market, as we throw away over a third of the food we ask our burning Earth to provide us.
For decades, cooler-headed Canada has helped lead the way in animation innovation and mindful programming. Its rising studio Guru is carrying those goals forward in the fantastic new Netflix series, True and the Rainbow Kingdom.
Written by an immigrant Jew hounded by Hitler, and envisioned by a Chinese immigrant dreaming of America, Walt Disney’s Bambi remains an unheeded warning of terror and terraformation, sadly forgotten by a burning world careening into an exponential apocalypse.
This expressive war epic from the assistant director of Kiki’s Delivery Service handles the toughest of topics with art, skill and grace. I spoke with director Sunao Katabuchi for Cartoon Brew.
Stephen King’s horror novel never saw this real-time nightmare coming. A state-sized dead zone at the bottom of the South, which is so deprived of oxygen it might as well be deep space — which is, recalling Alien, where no one can hear you scream.
The fact that Amazon chose to invest a healthy budget in Titmouse and Niko, in search of staying power and cultural relevance, should be a warning shot to the animation business as usual. After all, as Titmouse told me, we’re in a cartoon gold rush.
I’ve spoken a few times with animation auteur, Ralph Bakshi, who pioneered the pathways of underground and overground cartoons for decades. This time, we analyze the live-action/animation merge of Cool World, which like its foundational forebear, Lord of the Rings, created the CGI universe we take for granted today.