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Capitalism, Class, Inequality Film, Art, Television, and Media

On Leaving Twitter, or Not

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Capitalism, Class, Inequality Gay Marriage Pandemic Politics Queer Politics, Culture, and History Race, Sex, Gender, and Sexuality

Gay Marriage Ruined Everything

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Capitalism, Class, Inequality Film, Art, Television, and Media Immigration Labour

On Titan, Migrants, and Mourning

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Capitalism, Class, Inequality Film, Art, Television, and Media On Books and Publishing

The Corruption of Influence: On Dimes Square, Byline, and the New York Times

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Feminism Film, Art, Television, and Media Queer Politics, Culture, and History Race, Sex, Gender, and Sexuality

Hannah Gadsby, Then and Now

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Academia Capitalism, Class, Inequality Film, Art, Television, and Media Politics Race, Sex, Gender, and Sexuality

On Race, AI, and Representation Or, Why Democracy Now Needs To Redo Its June 1 Segment

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Capitalism, Class, Inequality Chicago Chronicles On Books and Publishing

“Boosted!”, my review of Blair Kamin’s Who Is The City For?, is up at the New York Review of Architecture.

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Capitalism, Class, Inequality Film, Art, Television, and Media

“Here Be No Monsters,” my essay on the Succession finale for In These Times

I wrote about the Succession finale for In These Times. Many thanks to Jessica Stites for noting that I was watching the show, Sherell Barbee for suggesting I write about it, and Ari Bloomekatz for editing the piece (we were both up till the wee hours working on this, and the experience confirmed my view that editing with the right people is always a joy).

You can read the essay here.

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On Books and Publishing

Lyrical Doughnuts or, the “I” in Writing

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Film, Art, Television, and Media Politics Race, Sex, Gender, and Sexuality

Son, You Lie: Harry Windsor Is Exploiting His Mother’s Death