Blame Hollywood’s “unwokening” and the extraordinary rise of right-wing podcasters on slop: intellectually bereft, emotionally sterile content that’s shaped by data and optimized for clicks.

While streaming shows often fall into bloated storytelling, HBO’s latest has the pace and drama of classic television.

When streamers “dump” whole seasons instead of releasing weekly, they strip away some of TV’s most reliable pleasures.

The new FX show captures fear and confinement better than any on-the-nose pandemic drama.

Mike Flanagan’s latest Netflix show is an exhausting mashup. Even worse, it’s not scary.

The FX show could have been a near-perfect hangout sitcom. It did something much more interesting.

Stories from the last strike can’t explain the current action. Nor should they necessarily give us comfort.

Adapted from a bestseller, “Daisy Jones” was premium intellectual property. The show never had to be good, just marketable.

In Amazon’s take on The Lord of the Rings, the hero is a fanatic, ceaselessly seeking out potential threats.

As the streaming wars intensify, the tech giant increasingly resembles the hidebound movie studios it once aimed to “disrupt.”

It’s how the streaming service exploits musicians to pay podcasters like Rogan millions of dollars.

Neil Young’s threat to pull his catalog is only the latest predictable consequence of spending $100 million on the popular, controversial podcaster.

Netflix, Amazon Prime, Hulu, HBO Max.… With so much content, why does it feel like there’s nothing to watch?

The new LeBron James–Looney Tunes crossover movie isn’t just bad. It’s a harbinger of worse to come.

The e-commerce giant covets the Hollywood studio’s sweet, sweet cache of intellectual property.

The deal between AT&T, Time Warner, and Discovery is just the latest shift toward consolidation as media companies fight hopelessly for market supremacy.

The blinkered logic of venture capital is written all over the new streaming service.