Use the fields below to perform an advanced search of The Post's archives. This will return articles, images, and multimedia relevant to your query.
68 items found for your search. If no results were found please broaden your search.
Despite the lack of any connecting plot thus far this season, many of Rick and Morty episodes have recently felt too convoluted or complex for their own good, last week’s episode being a prime example. “Promortyus” was more than refreshing to watch, considering it was a more traditional Rick and Morty story told in an unconventional way.
Rick and Morty has often reveled in the absurd complexity of its narratives, throwing in more and more until its plot lines are laughably obtuse by design. However, its latest episode tests the audience’s ability to have enough sense of its narrative thread for them to even recognize when the jokes land.
After over six years, Steven Universe is truly over. But it was seen off with all the love and care anyone could ask for.
One week from the sequel series’ end, Steven Universe has never been more unlike himself.
Following a trend of more melancholy episodes as Steven (Zach Callison) struggles with finding his place in the world, Friday’s episodes of Steven Universe Future hit hard, putting forth serious themes and implications that they nonetheless handle with grace.
Following a two-month hiatus, Steven Universe Future returns right where it left off with its titular character, Steven (Zach Callison), struggling with his own mental health and estrangement from the Crystal Gems.
In the leadup to its series 12 finale, Doctor Who teased that “everything you know is a lie.” They weren’t kidding.
If there’s a saving grace to Doctor Who’s messy and bloated previous episode, it’s that it set up the last of the narrative dominoes for “Ascension of the Cybermen” to knock them all down in impeccable style. The first part of series 12’s two-part finale balances its characters, plot threads and villains near perfectly, raising tensions so high that the wait for its conclusion next Sunday will be nearly unbearable.
Since Chris Chibnall took over as lead writer of Doctor Who, the show’s historical episodes have been its highest quality ones — that is, until “The Haunting of Villa Diodati.” Beginning with a dull and uninspired romp through a spooky house, nothing interesting happens until halfway through, which abandons the mess of a story by simply acting as a teaser for the finale.
If you’ve seen the discourse around Doctor Who recently, you’ve likely run into quite a few comments — some more civil than others — about the show becoming too “political.” Tonight’s episode is different, however, focusing on mental health through the lens of the show’s characters. Although it doesn’t execute on its ideas perfectly, new guest writer Charlene James and lead writer Chris Chibnall nevertheless take the opportunity to delve further inside these characters’ heads — sometimes literally.
Series 11 of Doctor Who was missing something. Whether it was because of the insistence on ignoring its own history or a lack of any narrative thread, Doctor Who was still going — with some excellent individual episodes — but seemed to be stuck in time. Recent episodes have showed a promising trend, but with “Fugitive of the Judoon,” it’s finally safe to say that Doctor Who — as fans have known it — is back.
Since last season, many of Doctor Who’s best episodes have been its historical ones, emphasizing important historical figures and events as the main attraction, not just as a backdrop for another sci-fi adventure. “Nikola Tesla’s Night of Terror” continues this streak, exploring the inventor’s history in a way that aims to educate as well as entertain.
Especially since the most recent regeneration, Doctor Who has been more eager to directly tackle political issues, some with more substance than others. That has led to the powerful dialogues on race and religion seen in “Rosa” and “Demons of the Punjab” but also eye-rolling references to social media and President Trump when they remain irrelevant to the story’s plot or message. “Orphan 55” tackles climate change in a way that is far from original, but nevertheless, genuine and insistent.
In the first part of “Spyfall,” Doctor Who’s feature-length season premiere, lead writer Chris Chibnall created an exciting and intriguing setup with a startling reveal at the end. In the hour-long second part, “Spyfall” runs with that setup and never lets go, carrying its story forward while building off Doctor Who’s rich history and setting up even more mysteries for the future.
After exactly a year, Doctor Who is finally back for another season, ringing in the new year with a James Bond-esque espionage adventure that brings the series back in style.
Following a pattern of lighter stories, Steven Universe Future’s latest pair of episodes return to a darker place, although the conflict doesn’t come from intergalactic battles or giant monsters—well, there is a giant monster, but it isn’t the main problem. Rather, Steven’s biggest challenge becomes finding purpose in a world that he feels doesn’t need him anymore.
The Mandalorian’s season finale starts out slowly, with a back-and-forth dialogue of two bike scout troopers, played by comedians Adam Pally and Jason Sudeikis, while they wait for clearance to take the captured baby Yoda into town. The result is some of the funniest in-universe Star Wars content to date, with the two playing off traditional Star Wars tropes to uproarious comedic effect.
Following massive fan backlash around the previous Star Wars film The Last Jedi, The Force Awakens director J.J. Abrams returns to—in the eyes of some—steer the trilogy back on course with Star Wars: The Rise of Skywalker.
Following the trend of last week’s pair of episodes, Saturday’s Steven Universe Future offerings provide more laughs along with a few fun action sequences and a charming new song.
For the last two episodes of The Mandalorian, its titular character and “baby Yoda” have drifted through space on narratively separate adventures, likely a result of guest writers taking over for series creator Jon Favreau on both accounts. For the latest chapter, however, Favreau is back, and so is the plot.