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Ahead of its release last week, the discourse surrounding Assassin’s Creed Shadows was fraught. To put it mildly. Many fans bristled, and in some cases raged online, over historical inaccuracies spotted in the game’s preview content and marketing materials. For example, it’s debated among historians whether the historical figure of

From Porridge to Prison Break, TV audiences have long had a fascination with incarceration. With bars reducing the options for action, the consequences are always amplified. A captive audience is one thing, but a captive cast is better. We love to watch how characters behave when their freedom has been

Family. It’s a constant among cultures all around the globe, with love and respect for elders going back centuries. For some, the stories they tell and the wisdom they impart can inspire future generations. In return, their kin and descendants do their best to honor their final wishes when the

Come to the New York exhibit Syd Mead: Future Pastime, featuring the familiar yet fantastical work of the artist behind Blade Runner, Aliens, and TRON. “Robert Wise enlisted Mead’s talents for Star Trek: The Motion Picture (1979). Steven Lisberger brought him on board for TRON (1982). Ridley Scott commissioned Mead

“In another time, in another place… the world has been poisoned.” So opines the introductory wall of text in O’Dessa. Marketed ahead of its release as writer-director Geremy Jasper’s new rock opera fantasia starring Sadie Sink and Kelvin Harrison Jr., from the outside the film looks of its current moment