Television

Ana Asensio, writer-director-star of SXSW winner Most Beautiful Island, on the roots of her love of film and its magical ability to connect.

Jim Hemphill on the deliriously enjoyable CW show, which is so referential it makes Tarantino look like Bresson.

Jim Hemphill explains why this spinoff of a long-running cop show has some of the best qualities of Howard Hawks' 1959 classic Western.

Charlie Shackleton tries to put into the words the genius of Matt Johnson and Jay McCarrol's highly underrated creative non-fiction series.

At a time when U.S. politics is beyond satire, Matthew Wilder finds a resonant parallel in the unbridled weirdness of Lynch's seminal TV show.

Brea Grant celebrates the return of David Lynch's iconic show and explains why its rhythms fit so well with the current zeitgeist.

Jim Hemphill on why he fell for Freeform's addictive new series about the on-screen/off-screen romance between two young movie stars.

Ido Fluk, director of The Ticket, looks back on arriving in New York in August 2001, and his experiences in a city suddenly thrown into crisis.

Jim Hemphill on the abundance of riches to be found in the Showtime series, which brings the best of cinema to the small screen.

Sidewalk Stories' legendary writer-director-star Charles Lane takes stock of the reboot of one of his favorite recent TV shows.

Japanese garage punk, dad rock and an anthem for wanderers.

Jim Hemphill on how the History Channel's surprising new series – and especially Kimberly Peirce's episode – shows cinema how it's done.