‘Would It Kill You to Laugh?’ (2022) Leaves Viewers Both Satisfied and Hungry for More

With possibly the best title within its category, the comedy special ‘Would It Kill You to Laugh?’ allows Kate Berlant and John Early to shine doing what they do best ⁠— all while simultaneously tempting viewers about what they might create in the future.

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‘Three Busy Debras’ and Its Exhilarating Celebration of the Absurd

An analysis of the nuanced layers found throughout ‘Three Busy Debras,’ a comedy series where the surreal feels grounded and the ugly is hiding out in the (whimsical) open.

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Pride 2022 – Flip Screen’s Recent LGBTQ+ Media Faves

From under-the-radar comedies to emotionally stirring period dramas, and everything in between, here’s what some of the Flip Screen team had to say about the recent shows and films with LGBTQ+ themes and characters that resonated with them.

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REVIEW: ‘Shining Girls’ Is An Ambitious Crime Drama That Misses The Mark

“‘Shining Girls’ is an eight-episode series that promises to build up an intense story of a serial killer, but the non-linear structure becomes uneven and clunky.”

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REVIEW: ‘Russian Doll’ (Season 2) is a Fast-Paced Trip Through Time and Trauma

“The show is compulsively entertaining and addictive in the sense that it has a way of leaving room for future possibilities of more stories down the line.”

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‘Money Heist’: From ‘Don Quixote’ to ‘Lazarillo de Tormes’

“‘Money Heist’ exaggerates almost all aspects of reality, in turn challenging the economic and political status quo.”

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‘Yellowjackets’ (2021) Perfects the Sting of Female Rage in Television 

‘Yellowjackets’ challenges the idea that women are communal in times of crisis, while highlighting the power and necessity of female rage in film.

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REVIEW: ‘Evil’ Season Two Delights in Body Horror

Refusing to place all its hopes in both state and religion as god-given arbiters of justice, season two of ‘Evil’ reinvents the crime procedural by suggesting that ideas of good and bad are not given, but made, remade, and brutally scapegoated onto people.

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‘Midnight Mass’ and the Humanity within Mike Flanagan’s Horror

“Some might prefer their horror to be cynical and nihilistic, but Flanagan’s is a unique kind of optimism, one that leaves tragedy and trauma in its wake but still engenders hope and empathy.”

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