I do not want to reduce Shlesinger’s comedy to a series of moderately problematic asides. That would not be fair to Shlesinger, nor would it be fair to you, dear reader.
At least Bamford is humble enough to acknowledge how polarizing her comedy can be.
The following comments, compiled from Reddit, Facebook, and the comment section of The Harvard Crimson, are all in response to my two-star review of “DAMN.”
Yo Gotti’s “Rake It Up”—despite seemingly being a paean to lazily refusing to pick up your money in a strip club—is a representation of the American dream.
What is that feeling of witnessing brilliance?
The reader is not always right.
Perhaps this should not be framed as a single-year decline in the quality of dramatic television.
Cole is crafting a character in the crevices between the loosely held joke structure of his special.
That is, perhaps, the highest form of comedy: The kind of comedy that reminds us of what we can be.
To a listener with eyes, its music video asks the undeniably important question: Why don’t we take Swift seriously as an artist?
There is a certain audacious wonder in such an honest depiction of childhood and adolescence.
The show works when it functions the way I’ve mythologized it: as a show about the brokenness of the human soul.
For the seventh season finale of “Game of Thrones,” writers Aziz B. Yakub and Grace Z. Li sat down to discuss the pitfalls and highlights of “The Dragon and the Wolf”.
Underlying the leaps of logical fancy populated throughout the episode is a subtler undercurrent of consistent reminders about divine interventions.
“The Queen’s Justice” seems consumed with fleshing out the relationship between the human consciousness and imagination.