Departments
Splice Archive
Oh boy, a rant.
Bacchae, Soccer Mommy, Beach Bunny, and U.S. Girls have provided much needed relief in this awful year.
How Coronavirus can save our world.
If I have kids, we'll be singing Nirvana in the minivan.
Robert Altman’s Tanner ’88 and Tanner on Tanner remain relevant critiques of presidential politics.
Until Bloomberg arrests me.
The beloved sitcom tells us to be happy for death. We shouldn't be.
Dissonance with Parasite’s Oscars success and its anti-capitalist themes isn’t hard to resolve.
Relying on the media to make a judgment isn’t smart.
Mulling a probable apocalypse in the face of biblical signs: fallen idols, floods, and a plague.
After an Oscar snub, hysterical hatred of Sandler’s classic comedies emerges in “respectable” film critics.
Critics go kooky in slamming the amiable Dolittle.
The young have long been killing the old.
When it comes to the Coronavirus, are you a Carrie, Miranda, Samantha, or Charlotte?
The rich come from a long line of bloodsuckers.
Once you get it, it's hard to get rid of.
Specimens aligned, action!
The differences are complexly interwoven with the similarities.
No one’s written a definitive analysis of his importance.
No—the world is our rage room, and you are our targets.
As long as we’re not hurting people, we should be able to do whatever the fuck we want.
A crossword written and designed by the Emster herself.
An interview with illustrator Danny Hellman in Believer Magazine.
Spitballing the situation as it plays out, just like everywhere else.
Renegade Cut on the consequences of American myths and how they manifest in cultural artifacts.
The Academy Award winning actor talks to Larry King in an interview re-aired after his death in 2002.
A PBS documentary on the life of Lucille Ball.
In case your memory doesn't serve.
Before she was Jessica Fletcher, she was merely a universally acclaimed actor of the screen and stage (here promoting Bedknobs and Broomsticks in 1972).
The breakout star from Once Upon a Time in Hollywood talks about her work in the film.