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Television

50 years after it first aired, remembering the television show’s progressive foundational values

By Figgy Guyver

US comedian Tim Robinson is changing comedy – a few minutes at a time

By Olivia Rodrigues

The disaster was not a ‘uniquely’ Soviet problem

By Andrew Durbin

The fantasy series’ nihilistic refusal of meaning is the bravest TV finale since ‘The Sopranos’

By Gerry Canavan
Edward Kienholz, The Eleventh Hour Final, 1968, multi-media. Copyright Kienholz. Courtesy: © the artist and L.A. Louver, Venice, CA

‘Past is prologue’ in two shows at the Smithsonian American Art Museum, following the 50th anniversary of the Tet Offensive

By Ian Bourland
Armando Iannucci, Veep, 2012 - 9. Courtesy: Colleen Hayes and HBO

In its final season, ‘Veep’ satirizes the heartless ambition driving US politics

By Andrew Durbin

Twenty years since the original series, there is still much to be done in confronting regressive prejudices against the LGBTQ+ community

By Sean Burns

Twenty years on from the devastating shooting, can its cultural legacy in film and television reframe our present moment?

By Ian Bourland

The television show – the director’s first – is a sequel to his 1997 film of California queer disillusion, Nowhere

By Andrew Durbin
Gretchen Bender, People in Pain (detail), 1988 / 2014, ninety titles, silkscreen on paint and heat set vinyl, neon, transformers. Courtesy: © The Gretchen Bender Estate and Red Bull Arts New York; photograph: Lance Brewer

Once labelled a ‘TV terrorist’, the video artist returns with her first posthumous retrospective at Red Bull Arts New York

By Masha Tupitsyn

A 1979 televisual essay by the cultural theorist offers insight into black politics and representational struggle in the British media

By Rianna Jade Parker
Mike, 1980, black and white photograph. Courtesy: the artist and Greene Naftali, New York; photograph: General Idea

‘It embodies the qualities of enthusiasm, enquiry and toe-curling earnestness that art can’t exist without’

By Dan Fox