Culture & More
Movies, TV, music, and what's worth your time
Entertainment coverage skews toward whatever the algorithm wants to surface this week. The shows nobody is watching that turn out to be the year's best television, the album that quietly reset a genre with no press cycle behind it, the film that earned its reputation through word of mouth rather than marketing spend: these are harder to find in a media landscape optimized for volume.
Owl Post reads entertainment with an eye toward what is actually worth your attention rather than what is loudest. That means tracking the streaming landscape critically, including which platforms are producing work that justifies the subscription and which are coasting. It means following music across genres rather than just chart activity. It means covering film with attention to what is in theaters and what is being overlooked. And it means following the business layer of entertainment, including the studio decisions, streaming economics, and industry shifts that determine what gets made and what does not.
The beat spans film (theatrical and streaming), television across all platforms, music across genres, and the cultural conversations that form around all of them. Owl Post reads serious film and television criticism, music journalism with genuine editorial standards, and the entertainment business press that covers the industry economics behind the content.
Your digest adapts to your relationship with entertainment criticism. If you want the opinionated, take-a-position voice that tells you what is good and makes a case for it, that framing is available. If you want the recommendation-first approach that answers what to watch and what to skip without extensive argumentation, that works too.
A daily entertainment digest. What is worth your time, what the industry is doing, and what the culture is talking about.
TF1 is bringing hit British comedy format “Taskmaster” to France as part of its big push into premium unscripted entertainment. “Taskmaster,” created by British comedian Alex Horne and originally launched in the U.K. in 2015, pits five celebrities against one another in a series of increasingly absurd challenges. Camille Combal, a popular French TV personality
The third series of Jimmy McGovern’s terrifying and acutely moving prison drama is set in a young offender institute – and the reality it depicts needs national attention Jimmy McGovern has said that this new, third instalment of his prison anthology drama Time will be the last. For the sake of audiences’ emotional equilibrium, you have to hope so. For the sake of scripted drama, for the sake of art that has a hope of stirring the conscience of authorities and effecting change, you have to hope not. This time, Time is inside a young offender institution. It is crammed with under-18-year-old males, locked up often for 23 hours a day, all subject to the relatively new “keep apart” system whereby prisoners deemed likely to be violent towards each other are not allowed out of their cells at the same time. Naturally, this leads to a lot more boys being banged up for a lot more of the day and suits the officers a lot better. It is a facet of modern YOIs that McGovern and his co-writer Sam Bailey, a man evidently cut from the same socially conscious cloth, are clearly intent on bringing to wider attention. Their script, and the direction by Paul Whittington, do a wonderful, terrifying job of conveying the kinetic energy pent up and desperate for release, and the seething fury ever threatening to erupt, in every scene.
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