The long-gestating Aldous Huxley adaptation about a dystopian future society, starring Jessica Brown Findlay and Alden Ehrenreich, debuts on Peacock.
Inkoo KangIn non-PARASITE news, I reviewed Peacock's BRAVE NEW WORLD, a dystopia drama that seems to have nothing to say about our own dystopian world (and papers over its intellectual bankruptcy with scene after scene of extremely unsexy orgies).
Reese Witherspoon and Kerry Washington star as clashing mothers in Hulu's answer to 'Big Little Lies.'
Inkoo KangLITTLE FIRES EVERYWHERE is the real second season to BIG LITTLE LIES, tackling race and class issues in a wealthy enclave suddenly racked with violence. It's stubbornly middlebrow, but I also couldn't stop watching.
The Comedy Central show takes a few episodes to settle into a groove, but its depiction of an Asian American family defined by unconditional acceptance — rather than intergenerational tension — feels groundbreaking.
Inkoo KangIt took me a few eps to warm to AWKWAFINA IS NORA FROM QUEENS (that title, oof), but I love its countercurrent depiction of an Asian American family we haven't seen before.
The Parasite director is turning American classics inside out.
Inkoo KangExtremely excited to share this dream piece of criticism: An interview with/deep dive into Bong Joon-ho about what makes the PARASITE director's America-inspired but America-skeptical filmography unlike any other. Also discussed: gender, disability, perms
Lulu Wang’s new movie is a heartbreaking immigrant story about returning home.
Inkoo KangI love that THE FAREWELL is about family members with different worldviews profoundly disagreeing about how best to express love. I also love that THE FAREWELL is such a masterful tonal balancing act that it made me guffaw in the midst of wracking sobs.
Inkoo KangHow Asian American representation leapt forward this year immensely, haphazardly, and cobbled together from a thousand different diasporic contexts -- and why that feels like the right way.
The landmark film beautifully portrayed the Asian American experience. Then Asian Americans turned on it.
Inkoo KangHere's my first Slate cover story: I wrote about THE JOY LUCK CLUB, its beauty, its poignancy, its divisiveness among Asian Americans, its impossible burden of representation, and when and how pioneers become lightning rods. Please take a read.
The groundbreaking movie adaptation of the best-selling novel is a transportive delight.
Inkoo KangI wanted to rewatch CRAZY RICH ASIANS as soon as the credits started rolling. It's a wonderful romantic comedy with culturally distinct (but universally relatable) stakes. It's also a moving-as-hell affirmation of Asian American identity.
Icons become canonized in specific contexts. In the ’90s — that witchy, spicy, angry, angsty, sarcasm-laden decade when third-wave feminism and girl power took over...
Inkoo KangI go deep on Gillian Anderson's decades-long feminist critiques of THE X-FILES and debate whether it's time to reconsider Scully's feminist icon status, given the show's mistreatment of her for more than a decade.