THINKPIECES:

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A Pinch of Irony, a Splash of Derision: How Supporting Performances Brought Extra Flavor to Their Respective Films

      (The Hollywood Reporter, December 2022)

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Playing Sexy on TV Is No Small Feat

      (The Hollywood Reporter, December 2022)

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Dave Chappelle’s Emmy Noms Show the TV Academy Isn’t Swayed by Social Media

      (The Hollywood Reporter, August 2022)

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This Year’s Award for Wacky Emmy Category Goes to… TV Movie

      (The Hollywood Reporter, August 2022)

 

Amber Ruffin, Ziwe, Desus and Mero and the New Vanguard of Late Night

      (The Hollywood Reporter, June 2022)

 

How TV Is Embracing Late-in-Life Coming-of-Age Stories

      (The Hollywood Reporter, June 2022)

 

The Deep Hollywood Roots of the Cli-Fi Wave

      (The Hollywood Reporter, June 2022)

Critic’s Notebook: The Sweet and Sour Legacy of ‘The Ellen DeGeneres Show’

      (The Hollywood Reporter, May 2022)

Critic’s Notebook: Chris Rock Kicks Off Comedy Tour With Uncharacteristic Vulnerability

      (The Hollywood Reporter, March 2022)

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Does the Academy Favor Male-Driven Stories for Its Top Prize?

      (The Hollywood Reporter, March 2022)

Does the Academy Favor Male-Driven Stories for Its Top Prize?

      (The Hollywood Reporter, March 2022)

How the Oscars Are Embracing Coming-of-Age Stories This Year

      (The Hollywood Reporter, March 2022)

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How Animated Oscar Nominees Explore Family Trauma in Kid-Friendly Stories

      (The Hollywood Reporter, February 2022)

Critic’s Notebook: ‘And Just Like That…’ Finale Sees the Limitations of Sisterhood
      (The Hollywood Reporter, February 2022)

Louie Anderson made vulnerability funny

      (The Washington Post, January 2022)

‘Being the Ricardos,’ ‘House of Gucci’ and ‘Tragedy of Macbeth’ Showcase Women Taking Power     

     (The Hollywood Reporter, December 2021)

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From ‘House of Gucci’ to ‘West Side Story’: Oscar Hopefuls Feature Protagonists Seeking a Better Life

     (The Hollywood Reporter, December 2021)

Why Moviegoers Are Ready for Big, Walloping Performances Again

     (The Hollywood Reporter, December 2021)

Why the Cathartic Release of Female Rage Dominated 2021’s TV Plotlines

      (The Hollywood Reporter, December 2021)

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The Charm Offensive Is a Menacing Force in Cinema’s Latest Depictions of Sex Work

      (The Hollywood Reporter, December 2021)

Why the Emmys Should Honor International TV

      (The Hollywood Reporter, August 2021)

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How Emmy’s “Bloated Cast” Noms Crowd Out Other Peak TV Options 

      (The Hollywood Reporter, August 2021)

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How Emmy-Nominated Drama Series and Docuseries Spotlighted What the History Books Ignored       

        (The Hollywood Reporter, August 2021)

Emmys: How ‘The Crown,’ ‘Bridgerton’ and More Drama Series Explore the Perks and Pitfalls of “Chosen Family”
        (The Hollywood Reporter, June 2021)

Critics’ Conversation: Why Limited Series Have the Most Potential in Emmy Race
         (The Hollywood Reporter, June 2021)

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How ‘Bridgerton,’ ‘Dickinson’ Help Rewrite Injustices of History

         (The Hollywood Reporter, June 2021)

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"First Words" (essay on fat, vanity, and loss of identity)

         (Amherst magazine, April 2021)

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"Critic's Notebook: How 'Nomadland' Became the Film of Our Moment"

         (The Hollywood Reporter, April 2021)

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"This year’s Oscar nominees are showing America its true face"

         (The Washington Post, April 2021)

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"Oscar Voters Recognize First-Timers and Hollywood Outsiders in Unprecedented Year"

         (The Hollywood Reporter, April 2021)

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"Oscars: How the Directing Nominees Drew on Personal Experiences for Their Tales of Survival"

         (The Hollywood Reporter, April 2021)

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"Joss Whedon’s ‘feminist’ shows all concealed toxic ideas about women"

         (The Washington Post, February 2021)

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"How 'Schitt's Creek,' 'Frayed' and More Explore Comedy and Tragedy in Humbling the Rich"

         (The Hollywood Reporter, January 2021)

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"From Viewer Disorientation to Body Horror: How Recent Films Explore Elder Decline"
         (The Hollywood Reporter, January 2021)

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"Critic's Notebook: Movies Have Always Had Their Place on the Small Screen"
         (The Hollywood Reporter, December 2020)

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“Why the Emmys Needs a Separate Category for Sketch Comedy Performers“

(The Hollywood Reporter, August 2020)

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“Not Your Mother’s TV Moms: Emmy Voters Recognized Nuanced Portrayals of Motherhood“

(The Hollywood Reporter, August 2020)

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“Emmys’ Limited-Series Race Dominated by Feminist Stories“

(The Hollywood Reporter, August 2020)

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“How ‘Ramy,’ ‘Awkwafina,’ ‘Work in Progress’ Creators Mined Their Lives for Comedy“

(The Hollywood Reporter, July 2020)

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“Missing ‘Succession’? Try ‘Peep Show‘”

(GQ, March 2020)

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“Critic’s Notebook: How TV Is Reinvigorating the Female Sports Drama“

(The Hollywood Reporter, February 2020)

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“As the child of someone with paranoid psychosis, ‘Joker’ resonated with me“

(The Washington Post, February 2020)

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“Oscar Noms Shed Light on Academy’s Fears About a Rapidly Changing World“

(The Hollywood Reporter, February 2020)

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“Why Awards Shows Still Matter for Movies“

(The Hollywood Reporter, January 2020)

 

“Critics’ Conversation: The Brilliant Messiness of Showtime’s ‘Work in Progress’“

(The Hollywood Reporter, January 2020)

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“Critic’s Notebook: TV’s Fat Women Are No Longer a Joke“

(The Hollywood Reporter, January 2020)

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“Oscars: How Anna Paquin, Margot Robbie and More Actresses Said So Much With So Little Dialogue“
          (The Hollywood Reporter, January 2020)

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“Critic’s Notebook: Baby Yoda, ‘The Dark Crystal’ and the Need for Puppetry in the Age of CGI“
         (The Hollywood Reporter, December 2019)

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“Critic’s Notebook: An Ode to 2019’s Sweet TV Dopes“
         (The Hollywood Reporter, December 2019)

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“From ‘Hustlers’ to ‘Bombshell’: How Female Alliances Influenced Movies in 2019“
         (The Hollywood Reporter, December 2019)

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“Critic’s Picks: The Best (and Worst) of the Major ‘Little Women’ Adaptations“
         (The Hollywood Reporter, December 2019)

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“Critic’s Notebook: Against the Odds, ‘The Conners’ Became Comfort TV“
         (The Hollywood Reporter, December 2019)

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“From ‘Fleabag’ to ‘Dickinson’: The Rise of the Anti-Heroine“
         (The Hollywood Reporter, November 2019)

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“The Rise of the Feminist Musical Drama: ‘Judy’ and Other Films Spotlight Talent Over Romance“
        (The Hollywood Reporter, November 2019)

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“Critic’s Notebook: ‘The Deuce’ Finale Undermines the Series’ Own Brutal Brilliance“
        (The Hollywood Reporter, October 2019)

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“Critic’s Notebook: How ‘Hustlers’ Broke the Girl Gang Movie Curse“
         (The Hollywood Reporter, September 2019)

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“Critic’s Notebook: ‘Good Boys’ and the Rise of the Gritty Middle-School Comedy“
         (The Hollywood Reporter, August 2019)

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“Emmys’ Senior Moment: The Veteran Actors Landing Noms in Peak TV Era“
         (The Hollywood Reporter, August 2019)

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“Critic’s Picks: 10 British TV Comedies to Catch Up on This Summer“
         (The Hollywood Reporter, July 2019)

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“Critic’s Notebook: The Brutal, Bloodthirsty Catharsis of Cooking Competition Shows“
         (The Hollywood Reporter, June 2019)

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“Critic’s Notebook: HBO’s ‘Gentleman Jack’ Delivers a Groundbreaking Season Finale“
         (The Hollywood Reporter, June 2019)

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“Emmys: TV’s Top Comedies Poke Fun at Hollywood“
         (The Hollywood Reporter, June 2019)

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“Critic’s Notebook: Welcome to the Age of Background TV“
         (The Hollywood Reporter, May 2019)

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“Critic’s Notebook: In 2019, Television Finally Understands Internet Culture“
         (The Hollywood Reporter, April 2019)

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“Critic’s Notebook: How Animated Film Is Indicting Toxic Masculinity“
         (The Hollywood Reporter, March 2019)

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“‘A Star Is Born’ Has Always Been About Emotional Abuse“
         (VICE, February 2019)

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“Critic’s Notebook: ‘PEN15’ and the Resurgence of the Horny Teen Nerd Girl“
         (The Hollywood Reporter, February 2019)

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“Critic’s Notebook: How Lifetime Taught Me to Be a Feminist “
         (The Hollywood Reporter, February 2019)

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“Critic’s Notebook: The Obsession With Female Royalty Is Really an Obsession With Female Trauma “
         (The Hollywood Reporter, December 2018)

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“Critic’s Notebook: NBC’s Christmas Specials Fail to Ignite the Holiday Spirit“
         (The Hollywood Reporter, November 2018)

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“Critic’s Notebook: It’s Time for an Animated Harry Potter Television Series“
         (The Hollywood Reporter, November 2018)

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“Critic’s Picks: The Best and Worst of Trump-Era Television“
         (The Hollywood Reporter, November 2018)

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“Critic’s Notebook: On ‘This Is Us,’ a Rare and Timely Exploration of Men’s Mental Health“
         (The Hollywood Reporter, September 2018)

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“In 2017, Film and TV Got Serious About Depicting Sex Work“
         (Vanity Fair, December 2017)

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“Does ‘Coneheads’ Actually Suck?“
         (VICE, November 2017)

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“Netflix’s The Worst Witch Reworks a Children’s Classic for the Age of ICE Raids and Acid Attacks“
         (Slate, July 2017)

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“Give Erotic Costume Dramas A Chance“
         (VICE, July 2017)

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“‘Catastrophe’ Makes Male Vulnerability Funny“
         (VICE, May 2017)

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“The Ongoing Influence of Darlene Conner“
         (VICE, March 2017)

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“Do We Need a Twin Peaks Revival When TV is So Much Weirder Now?“
         (The Guardian, February 2017)

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“On an Audacious Girls, Lena Dunham Harpoons the Great White Novelists and Auteurs“
         (LA Weekly, February 2017)

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“‘Baskets’ Portrays Rural, Working Class America Differently and That’s a Good Thing“
         (In These Times, February 2017)

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“Where Have All the TV Feminist Moms Gone?“
         (MTV News, January 2017)

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“How Children’s TV Like Studio Ghibli’s Ronja, the Robber’s Daughter Can Give Grown-Ups the Strength to Endure“
         (Slate, January 2017)

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“Ali Wong’s Baby Cobra: Have We Entered Television’s Golden Age of Transgressive Pregnancy?“
         (LA Weekly, July 2016)

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“Netflix’s Suspenseful Happy Valley Focuses on Police Work as Social Work“
         (LA Weekly, June 2016)

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“Cable TV’s Mothers Come Out – As Jewish, and Sexual“
         (The Forward, March 2016)

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“Why Maleficent is the Rape Revenge Film That We Need“
         (IndieWire, June 2014)

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“Does Modern Family Have a Looming Two and A Half Men Problem?“
         (Vulture, February 2011)