2/ “We seek shows anywhere we can find them—sometimes hearing about them directly from producers, other times from a friend of a friend’s mother’s uncle, or sometimes through our own secret methods of rooting out gems. Then we dig in,” @LJStandley and @McQuadeEric write.
3/ Below, we look back at a few of their favorites from the year.
4/ “Toxic: The Britney Spears Story” isn’t just about Spears. It’s also a call to arms for people with disabilities; a story about power, sexism, and isolation; and a reflection on who has the right to make bad decisions.
5/ “Strangeland” is a true-crime show that involves some familiar threads: evidence gathering, suspect lineup, investigation critique. But hosts Sharon Choi and Ben Adair avoid the predictable, turning the show into a thoughtful meditation on race, culture, and immigration.
6/ “The Flamethrowers” is a portal to right-wing radio. The tape that host Justin Lang plays is heinous—racist, sexist, xenophobic, anti-Semitic—and he argues that such rhetoric can incite actual violence.
7/ “The Apology Line” describes how, in 1980, the New York City artist Allan Bridge created the audio art project “Apology,” a voicemail box in which people could anonymously atone for their wrongdoing. Thousands called in.
8/ “9/12” doesn’t focus on the violence of the World Trade Center attacks, or on saccharine memories of America before they happened. Instead, the show explores the aftermath of 9/11.
9/9 Comment which podcast got you through the year below. 👇
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1/ In a turbulent year, Atlantic writers have sought to provide readers with practical advice. But some of the stories that have resonated most have also offered insight for our everyday life. Here are a few words of wisdom from the year: theatlantic.com/newsletters/ar…
3/ Your 20s don’t have to be the “best time of your life,”@Rainesford wrote. “This glorification of youth also seems to assume that everyone has the same resources; moves on the same timeline, in the same way; and has the same kind of life.” on.theatln.tc/UdiAuRQ
1/ Maybe your New Year’s resolution is to read a great book. Find one on our Culture team’s roundup of the 20 best from this year. theatlantic.com/culture/archiv…
2/ “The Right to Sex,” by Amia Srinivasan. “Srinivasan excels at closely analyzing, then questioning, the facts of our sexual lives that we might take for granted.” — Kate Cray
3/ “Intimacies,” by Katie Kitamura. “Kitamura’s fourth novel spins a taut web of dread from the start.” — Stephanie Hayes
1/ How can we work toward satisfaction and enjoyment even in uncertain times? That’s a question @arthurbrooks has tackled in each installment of his weekly series, “How to Build a Life.”
2/ “Falling in love is the start-up cost for happiness—an exhilarating but stressful stage we have to endure to get to the relationships that actually fulfill us,” @arthurbrooks wrote in February. theatlantic.com/family/archive…
3 /Job satisfaction has little to do with the “what” of your work, and much more to do with the “who” and the “why.” @arthurbrooks on the kind of professional development that will actually make you happier. theatlantic.com/family/archive…
1/ Last year, TV became essential, our Culture team writes. When the stages we used to go to—concert halls, movie theaters, sports arenas—closed amid the pandemic, the small screen became the only outlet for safe viewing entertainment. bit.ly/3sMvFtN
2/ In their list of the top TV shows of 2021, @shirklesxp, @sophieGG, and @megangarber reflect on how TV kept us enthralled during the pandemic. Below, we look back at what they thought about some of the year’s best shows.
1/ It was an odd year in film, our critic @davidlsims writes. “At the end of last year, I pondered whether the pandemic was irrevocably changing cinema.” theatlantic.com/culture/archiv…
2/ In his list of the top films of 2021, Sims considers the movies that affirm the vitality of the medium, no matter the size of the screen. Below, we revisit that list and look back at what he wrote about some of the films when they were first released.
3/ The new film adaptation of “Dune” is epic in scale and ambition. But its true power lies in its quieter, human underpinnings. theatlantic.com/culture/archiv…