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.
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, with the help of Pharrell Williams, in the fantastic new Netflix series, True and the Rainbow Kingdom.
From director Tomm Moore’s Oscar-nominated masterpieces The Secret of Kells and Song of the Sea, to director Nora Twomey’s The Breadwinner and beyond into the great unknown, the indie studio that was once international animation’s best-kept secret is a secret no longer.
Earth seeds itself. Then we get involved. Then you get what we have, right now: An extinction. From the makers of Queen of the Sun: What are the Bees Telling Us?, another exploration of an apocalypse we manufactured with our own hearts and minds.
Last year, I once again interviewed Samurai Jack creator and animation auteur, Genndy Tartakovsky, who told me the samurai’s arrival was imminent. Now here he is, in all of his glory and wonder, when we need him most.
Certainly, that seems to be our deep-seated fear, that this kind of violence will become part of the fabric of our lives.
Star Trek’s longest-running television series, which alternately bored and blessed us all with a sci-fi optimism now long since buried, blows out 25 candles
One man’s crap made-for-TV movie becomes another fan’s Pythonesque art trip, and the popular tastes of the ensuing decades makes up the difference. Who’s your Walrus now?
A psychokinetic steampunk upgrade with a fearless female hero leading the charge.
Happy Halloween! Looking for a nicely timed freakout?
Hollywood is turning into a serious culture vulture scavenging off of existing properties, whose box-office is logically positioned better than films with no previous franchises. It’s a double-edged sword. For […]
Think the original series, plus Hayao Miyazaki’s Princess Mononoke, and you’re probably there.
Cartoon brainiac Genndy Tartakovsky revitalized American animation with anime-inspired knockouts like Samurai Jack and Star Wars: The Clone Wars. Now he’s crashing mecha convention.
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.
Happy Thanksgiving, Americans! You’ve got a lot to be thankful for. This is not that.
Its revolutionary mix of geopolitics, sci-fi and psychedelia has influenced not just television, but also music, comics, film and more.
What gets lost in the remake’s dark dissection of human relationships complicated by ubiquitous surveillance and callous commodification is, simply put, ambition.
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.