Now that it's more common to see gay characters on TV, is the medium turning to transgender people for fresh stories? NPR's Neda Ulaby looks at TV's crop of transgender and "gender fluid" characters.
Fox has started releasing images from an upcoming episode of The Simpsons that renders the family in Lego pieces. And as always, all rights are carefully reserved.
In Your Eyes, written by Joss Whedon, has been sprung on the world as an on-demand stream available for five dollars. While its romantic tale of telepathy has promise, the execution is a letdown.
Sunday night's episode capitalized at last on the show's notoriously ambivalent, slow-burning approach to paying any attention to race.
Sports movies seem to have made a strange turn from focusing on players to focusing on agents and managers. It makes for a sad progression from magical realism to yelling about money.
The chatty Sundance show The Writers' Room sheds a little light on how some of TV's more popular shows are brought into being.
On this week's round-table podcast, we talk about BBC America's popular drama and delve into the dream sequence, one of popular entertainment's favorite devices, for good or ill.
The Orphan Black actress talks with Morning Edition about the return of her BBC America series. On the show, she plays multiple roles, and advanced technology helps her pull it off.
The film Heaven Is for Real tries hard to be about faith, but mostly winds up being about not bothering anybody. It's a shame, because it's a lost opportunity to say something interesting.
The new science fiction film Transcendence doesn't work very well as a story, but it's got an interesting way of trying to keep itself grounded in nature while exploring technological terrors.
We do grouse about the weather, it's true. But it's miraculous, if you think about it, that we still manage to get excited about spring at all, given that it happens every year.
Libby Hill looks at the worlds of televised drag competition and professional wrestling, and finds that the flash, art and gender performance of the forms make them more alike than they might seem.
The violence of Captain America is very different from the martial-arts violence of The Raid 2. Chris Klimek considers how the nature and explicitness of violence changes the way we perceive it.
The Address follows an intensive program that teaches kids with learning difficulties to recite the Gettysburg Address. And in doing so, it raises some tough questions about resources.
Marc Hirsh looks at the direction of the Fox comedy and wonders: why can't it leave well enough alone? Or, in fact, leave anything alone?