When a showrunner chooses to remove themselves from Twitter, they are removing themselves from not only professional opportunity but also a space for self-expression.
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When a showrunner chooses to remove themselves from Twitter, they are removing themselves from not only professional opportunity but also a space for self-expression.
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Is Ridley Scott’s Prometheus a half-baked pile of philosophical babble, or is it more seductively an early harbinger of a kind of post-television cinematic narrative—filmmaking in the age of television?
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