“Animation has always had the problem of being perceived as purely for kids,” Tartakovsky told me before Sym-Bionic Titan’s stellar launch. “I think things are better than a few years ago, but the stigma still exists.”
I talked to head Chickens about sympathizing the Star Wars biggest assholes Emperor Palpatine and Boba Fett, George Lucas’ evil chuckles, and more for Wired.
Shakespeare transcends time and media, mostly because creatives can’t stop remixing his legendary language across time and media. Julie Taymor’s up next with The Tempest, starring the always captivating Helen […]
The monstrosity rams its entire body down your throat, where its tentacles overtake your body while its crustacean-inspired head lodges inside your mouth.
David Lynch and Mark Frost’s indispensably surreal soap opera ripped apart television tradition as it riveted viewers with a ceaseless mix of dream-noir intrigue and persistent humor.
George Orwell’s future-fascist classic Nineteen Eighty-Four was really about 1948, although it was published in 1949
When people first started writing this stuff, they didn’t call it science fiction.
By the time The Age of Stupid‘s flashbacks are over and the viewer is stuck in a ravaged 2055, the urge to do something immediate is palpable and powerful.
The Iron Giant is beyond naivete or political correctness. It’s a hilarious, tear-jerking and sci-fantastic analysis.
But like Lynch’s Peaks before it, The Nobody‘s impressive science lies not in the mad experiments of the Invisible Man, or the Nobody, but in its subtle dissection of psychology and interpersonal relationships.
The movie took cyberfiction staples like those found in William Gibson’s Sprawl trilogy and mashed them together with anime, wire-fu, postmodernism, metaphysics, Alice’s Adventures in Wonderland, Jean Baudrillard’s Simulacra and Simulations, and a torrent of other texts and contexts.
Let’s be real: Barack Obama can’t change the world on his own.
How does the robot pack decide which human is cooperative and which is not? Welcome to the wonderful, dystopian world of defense pork.
The influential artist’s experiments have ranged from drone, psychedelia and trance rock to jazz, gospel and ragged blues, sometimes all at once.
“body horror was not my term. It was a term someone used to describe what I was doing, so it is not a category in my head that I use to make films.”
With their new album, the indie-rock impresarios of Pinback have crafted their most exquisite offering, a release equally packed with dark, foreboding lyrics and meticulous sonic structures.