THINKPIECES:

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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)