Film & TV
Who Did Marvel Even Make ‘Wonder Man’ For?
Marvel’s Wonder Man on Disney+ is a surprisingly low–key MCU entry, swapping the multiverse chaos for sharp, character–driven Hollywood satire. With minimal marketing and almost no larger franchise stakes, it ends up being one of Marvel’s best recent shows: small, funny, and refreshingly unconcerned with saving the world.
Beauty, Blood, and Blockbusters
Paul Feig adapts Freida McFaddenu's The Housemaid into a spectacle; one with just a little more shock value.
Do All Asian Americans Have Daddy Issues?
Hollywood keeps running the same tired script about Asian American life: strict parents, culture clash, identity crisis, rinse, repeat. This pattern reduces such characters to struggle and excludes stories about adulthood, romance, work, or ordinary life. If we want real range, Asian American characters have to be allowed to exist outside the family–conflict starter pack.
‘Wicked: For Good’ is for the Theatre Kids
Wicked: For Good closes its story without awards recognition but with clear creative conviction. The film’s reception reflects a mismatch between its intentions and critical expectations. Designed as the second half of a continuous narrative, it prioritizes character depth and long-term emotional payoff over accessibility. In doing so, For Good succeeds less as a crowd-pleaser and more as a film made for those already invested in the world of Wicked.
‘Avatar: Fire and Ash’ — Pandora Still Works, With an Asterisk
James Cameron’s Avatar: Fire and Ash delivers the franchise’s most emotionally layered story yet, deepening its characters and political tensions even as its climactic spectacle starts to repeat itself.
Vince Gilligan’s ‘Pluribus’ Is Impressive, if Exhaustingly Slow
Vince Gilligan’s Pluribus imagines a beautifully ordered world where loneliness, failure, and disagreement have been engineered away—and asks what that costs art, love, and autonomy. Starring Rhea Seehorn, it turns an alien apocalypse into a meditation on AI and authorship.
The Entertainment Industry is About To Change Forever
The studio behind ‘Harry Potter,’ ‘Batman,’ and HBO is heading toward another historic shake–up.
In a Year of Uncertainty, Anime Shines
In light of struggling films and genres, anime continues to grow in popularity, proving its novelty, market growth, and mass appeal.
The New ‘Frankenstein’: Couture, Catholicism, and the Creature Who Refused to Die
This adaptation finally makes Victor as pathetic as Mary Shelley intended and says the quiet part out loud: the monster deserved better.
The Return of the Movie Star, Times Two
Actors are doubling themselves to prove they’re still real in an industry built on copies.
Best of Film & TV in 2025
Street picks our favorite movies and shows of the year.
Why Do We Love the Death Game?
From ‘Squid Game’ to ‘The Running Man,’ death game stories turn our reality into an arena we can understand—and let us imagine coming out on top.
‘Nobody Wants This’ is the Rom–Com We All Need
Can disagreements and arguments actually serve to strengthen connections?
Street at the Philadelphia Film Festival
See Street's latest dispatches from the halls of the Philadelphia Film Society.
‘Urchin’ and the Art of Not Looking Away
Harris Dickinson’s breakout directorial debut combines transcendence and addiction into spiritual horror.
Who Won Film and TV in 2025?
How theaters and streaming pulled in different directions
‘Left–Handed Girl’ Traces Three Generations of Women—and the Pressures That Never Leave
Shih–Ching Tsou’s debut feature is an intimate Taiwanese drama about survival, adaptation, and the unchanging demands on people’s lives.
The Slow Burn of ‘Stranger Things’: Why Hawkins Took Its Time
Netflix’s biggest show grew up too slowly for its own good.
Review: ‘The Voice of Hind Rajab’ is The Wake–Up Call We Shouldn’t Need
The darling of the Venice International Film Festival chronicles the day that this six–year–old Palestinian girl should have been rescued.
