Rod Serling's The Twilight Zone stood out in the "vast wasteland" of television in the early 1960s and still resonates today.

Double identity, present in both Marvel's Black Panther and in the critical race theory of double-consciousness, enables black American viewers to see their two identities played out on screen.

Underneath the home and personal makeovers, is "Queer Eye" political?

The Hays Code kept Hollywood on a short leash until the Supreme Court decided in 1952 that films were protected by the First Amendment.

Murphy Brown represented a threat to “family values”—a position that inherently placed her on the side of the families of color whose single family structures supposedly threatened the white, middle-class status quo of the 1990s.

A miniseries directed by Rainer Werner Fassbinder finally has its U.S. premier 45 years later and reminds us of the phenomenon of this great German director.

Fifty Shades of Grey sells an absurd fantasy version of a romantic relationship—as between man and woman, so between capitalism and female workers.

A young Richard Nixon started asking studio executives why they didn't produce anti-Communist movies. The studios quickly responded with anti-Red films.

The recent film Blade Runner 2049 engages with questions raised by Karel Čapek and Isaac Asimov: What do we owe our creations (and what do they owe us)?

On the 75th anniversary of the premier of Casablanca, let's revisit the art and politics of this venerable American classic.