Enter Joe Pera, the comedian, actor, director, writer, and producer whose self-financed, self-produced, and self-released comedy special, Joe Pera: Slow & Steady, dropped on his YouTube channel in early October.

The Fondation Chantal Akerman and Cinematek, the Royal Film Archive of Belgium, have made available a remarkable find: four early shorts by the Belgian-born filmmaker, produced in 1967 when she was only 17 years old, which are now being exhibited under the program title Chantal Akerman: Her First Look Behind the Camera.

Nathan Fielder’s newest television show, The Rehearsal—which was renewed for a second season at the recent close of its dizzying six-episode run on HBO—is a true comedy, in the sense that it’s really a tragedy. A deeply funny show wrapped around a startling core of sadness, The Rehearsal sets its sights on the tangled notion that the more we instrumentalize or attempt to control the world, the more the reality of that world and those in it seems to escape us.

While parental absence is a key trope of so many of the Spielberg(ian) youth films of 1980s Hollywood cinema—not only E.T. (1982), but also The Outsiders (1983), Explorers (1985), The Goonies (1985), Stand by Me (1986), The Monster Squad (1987), et al.—the aloneness of the young protagonists is always more a matter of narrative pretext than actual subject.

By Kate Rennebohm Televisual and serialized storytelling has long been haunted by a Scheherazadean sense of the relation between storytelling and death. Like that famous narrator’s death-defying fabrications in Arabian Nights, the longer a television show goes on, the more it reminds us that an inevitable end is coming, every new episode only forestalling this…

By Kate Rennebohm When the eighth part of David Lynch and Mark Frost’s Twin Peaks: The Return begins, one doesn’t yet know that the episode will take the form of (visual) music. Though it starts straightforwardly enough, Part Eight soon reveals itself to be likely the most formally radical episode of American television ever made,…

  By Kate Rennebohm “I was overcome by an emotion I can’t quite define…but it was very, very strong, and had something to do with happiness. [And after seeing more of her work,] there really have been moments during which I felt I had to defend myself against what was being expressed, moments in the…