Mohsin Hamid’s The Last White Man is a book about race metamorphosis—and the seduction of power.
Jordan Peele’s sci-fi western is all about the danger of looking in our image-obsessed culture.
Viewers are overloaded with content. And as Netflix and other major services are now learning, blind excess comes at a cost.
Tragedies converge, apocalypse colors the air, and digital realities no longer suffice. Eventually everything, and everyone, cracks.
For Black people and others who are continually at a disadvantage, the genre has a major limitation: It can only imagine what is already painfully obvious.
When anything on social media can become A Thing, trends take on an unnerving shape and velocity.
2021 was a banner year for Black TV. Still, progress can’t be measured by representation alone—but by nuance, range, and more overlap.
This year’s most searing records—from Adele’s 30 to Jazmine Sullivan’s Heaux Tales—asked listeners to pause, reflect, and reconsider the path ahead.
The actor isn’t just the new Morpheus. He’s the future of Hollywood.