"Perhaps the best indication of The Lost Boys’ genre subversion is its queering of the non-vampire characters even while presenting them as unambiguously good."

It was late afternoon, and I was in bed listening to Audrey Hobert sing about Sex and the City and Phoebe Buffay of Friends, when I was reminded of the debate I've frequently hashed with my friends about what the “quintessential” Gen Z show is. I couldn’t help but wonder…why hasn't any show pulled off what the sitcoms of the 90s/2000s did for their generations, and what would that even take?

In some cases, sinister intentions lurk beneath Pride celebrations, as countries like the Netherlands and Israel embrace and then weaponize queer rights to serve their interests.

The fairies remain firmly in the mouse’s grasp. It represents a bigger problem in modern media: large corporations rarely support strong, female-led stories.

Nothing beats sitting at the cinema watching a movie for the first time and thinking to yourself, “Wow, this is why I love movies.” Project Hail Mary did that for me.

There is nothing quite like the feeling of refreshing Archive of Our Own (AO3) and finding out that someone wrote literally the perfect fic for your OTP (one true pairing, aka your favourite ship, aka your favourite relationship) or OT3 (think OTP but with polyamory).

Every sibling rivalry needs a popular culture phenomenon to cosplay their relationship, allowing their deep-seated love and loathing to flourish.

Over the course of the past six years, Industry has evolved from a raunchy, scathing critique of modern capitalism to an unrelenting, heart-pounding thriller–one which I believe to be the most electric show on TV right now.

Do you remember where you were when you heard that U.S. troops had withdrawn from Afghanistan in 2021? I recall that moment in my high school civics class, arguing against my male peers that we simply could not expect to invade a country, prop up its government for twenty years, and then leave without expecting that system to stand without our aid.

Sorry, Baby stands out because of its thoughtful, empathetic handling of sexual assault and refusal to minimize survivors to the sum of their painful experiences.