I’ve seen two decent comedy films this summer. Melissa McCarthy’s Spy and Amy Schumer’s Trainwreck were both fun, but the movie about a magazine editor with a substance-abuse problem was much better than the one about the assistant spy who’s forced to go out into the field. Why is that?
The Avengers sequel didn’t quite stack up to the original Avengers, from 2012—depending on whom you talk to, it was either a little disappointing, or a major letdown. But I’m willing to bet that the original, longer cut of the film fixes most of the biggest problems. And Marvel should put it in theaters now.
Ursula K. Le Guin’s most famous short story is probably “The Ones Who Walk Away From Omelas.” It’s a modified version of a thought experiment from Fyodor Dovstoevsky’s The Brothers Karamazov, and in turn it’s helped inspire a raft of similar stories. But “Omelas” isn’t just an interesting idea—it’s a provocation.
What do Judge Dredd, Mad Max and Adventure Time all have in common? They’re three of the best post-apocalyptic narratives we’ve ever seen. And they’re all slightly ludicrous, ranging from outright surrealism to mad social satire. In fact, the best post-apocalyptic storytelling is usually kind of ridiculous.