Interview
Joe Bennett and Steve Hely know their new Adult Swim animated series has its finger on the pulse.
The celebrated cartoonist talks anxiety, process, and the final installment of his Acme Novelty Datebook series.
To get Nosferatu’s nightmarish love triangle right, Robert Eggers looked to Wuthering Heights for inspiration.
Alison Schapker sees Dune: Prophecy as a story about the ebb and flow of institutional power.
Juston Gordon-Montgomery sees his new shonen-inspired Adult Swim series as a gateway to the world of wrestling.
The visionary behind Cowboy Bebop opens up about his return to sci-fi and collaborating with Chad Stahelski.
The Annihilation author talks about jumping back into the Southern Reach series 10 years later and whether this is truly the end of the story.
To make the show’s spells feel real, showrunner Jac Schaeffer prioritized practical effects over green screens.
And now you can watch it at home.
For the first time in the game’s 30-year history, leaders and civilizations can be chosen independently of one another.
The murder mystery was a chance for showrunner Katie Robbins to imagine a different kind of sci-fi vision.
Director Gary Hustwit tells us about his living documentary and the technology that changes it for every screening.
Director Jess Jacklin talks to The Verge about her new documentary following the first all-quadriplegic esports team.
Harmonium: The Musical took a lot of time and resources, but according to its developers, it was worth it.
But he thinks players will be able to handle it.
Game director Corinne Busche talks about the next entry in the RPG franchise.
He stands behind the new app, which underwent months of testing, but acknowledges that Sonos should’ve warned its (very) passionate customers about missing features.
To understand Jane Schoenbrun and their new film, I Saw the TV Glow, you have to appreciate how Buffy the Vampire Slayer evolved in its second season.
Doctor Who showrunner Russell T. Davies says that bringing a bit more fantasy to the sci-fi show was key to making the new season feel fresh.
The director explains why you need to see his new film, Evil Does Not Exist, two or three times to understand the ending.
How Home Assistant plans to transition from an enthusiast platform to a mainstream consumer product.
Four nights of unique set lists and long jams presented a much different production challenge than U2’s 40-show residency.
To create the X-Men ‘97 score, Andy Grush and Taylor Stewart had to work through their nostalgia and create new sounds from the future.
Director Bertrand Bonello tells us how his new film confronts the past, present, and future