The Joel funko pop should have been the first to go on Ebert’s grave, and the Ellie funko pop should show that, at least for now, video games have shown the possibility of surpassing cinema.

When film critic Roger Ebert said in 2005 that video games couldn’t be art, video…

The Marvel Cinematic Universe smash hit WandaVision might have something insightful to say about grief, hope, and harmful ways of coping — but critics haven’t been responsive to such stories in the past. Why is that?

The Marvel Cinematic Universe (MCU) is a staple of our popular culture. Despite the endless stream of online trolls who dare to discuss it in any non-contemptuous context, the franchise that started as a remarkably well-done, witty superhero film in 2008, back when superhero films were only “surprisingly common” and…

Fictional Violence, Aesthetic Genre, and the Illusion of Safety

Being queer is scary, and 2020 is a particularly scary time to be queer. When I was still deeply in the closet in 2005, a friend and I went to see “the new Wachowski film,” by which we meant the Lilly and Lana Wachowski-produced, James McTeague directed Alan Moore adaptation…

The past two weeks have been a whirlwind for anyone who pays attention to video game journalism. Essentially daily a new piece attacking some element of The Last of Us Part II is released by a major outlet. As someone whose primary takeaway from the game was not “wow, there’s…

Eleanor Amaranth Lockhart, Ph.D.

Dr. Eleanor (Ellie) Amaranth Lockhart holds a Ph.D. in communication from Texas A&M & is currently researching topics related to popular culture & data science!

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