FURIOSA is not FURY ROAD. It's a sprawling, complex emotional odyssey (and thus exactly the kind of film I love to write about). My review, for The Atlantic: theatlantic.com/culture/archiv… #furiosa

Is the rough start to this year’s summer-movie season a bad sign for Hollywood? Not exactly—but it suggests that the industry is changing, Shirley Li reports: theatlantic.com/culture/archiv…

Julio Torres's mesmerizing new HBO series "Fantasmas" is not exactly funny—but it is an entirely relatable show about the sheer absurdity of modern existence, Shirley Li writes: theatlantic.com/culture/archiv…

For our climate issue, I traveled to Greenland, and wrote about a wild Manhattan Project style plan to freeze the world's most precarious glaciers in place. gift link: theatlantic.com/magazine/archi…

In Season 3, "Bridgerton" wandered outside of its comfort zone and, for the most part, benefited from doing so, Shirley Li writes: theatlantic.com/culture/archiv…

What reasons are there to keep watching a show about people destroying their own kin beyond an affection for the better years of "Game of Thrones"? Shirley Li on the new season of HBO's "House of the Dragon": theatlantic.com/culture/archiv…

Based on a real-life rehabilitation program, “Sing Sing” earnestly depicts the healing forces of art and vulnerability—something “exponentially more difficult in a place where a person’s humanity is often extinguished at the door,” Shirley Li writes. theatlantic.com/culture/archiv…

"Female swagger, to XCX, comes with insecurity, because no matter how much bravado she displays, she must navigate overwhelming societal standards and expectations for her behavior." Thank you Shirley Li for a Brat take that make sense! theatlantic.com/culture/archiv…

Explaining Brat is not very brat, but the Harris campaign's embrace of Brat is extremely brat. On how Charli XCX just put the lime (green) in the coconut (tree), for The Atlantic: theatlantic.com/culture/archiv…

“Trap” may be M. Night Shyamalan's most unserious movie yet. Shirley Li on why the director’s latest thriller essentially works as a comedy: theatlantic.com/culture/archiv…

"Good One" is a deceptively simple coming-of-age film that compresses the emotional chaos of getting older into a single weekend, Shirley Li writes: theatlantic.com/culture/archiv…

Sean Wang's "Dìdi" is a crowd-pleasing coming-of age film set in the heyday of Myspace—and a rare period piece that understands the flattening effect the internet has on teenagers, Shirley Li writes: theatlantic.com/culture/archiv…

The new “Crow” film isn’t a remake. It’s a knockoff, Shirley Li argues—a “generic and plodding revenge thriller that’s nowhere near bold enough to justify the franchise’s resurrection.” theatlantic.com/culture/archiv…

"Blink Twice," Zoë Kravitz’s directorial debut, is a stylish though tonally uneven thriller about being intoxicated by wealth, Shirley Li writes: theatlantic.com/culture/archiv…

As The Atlantic prepares for #TAF24, the company won’t agree to core protections in our contract. There's a gulf between the values that The Atlantic espouses onstage and what it’s willing to give its employees. We'll be at the festival, fighting for a fair contract.

"Seeking Mavis Beacon" is an unconventional documentary about two filmmakers' search for the face of a computer-typing game. Their search unleashes an existential crisis for the internet generation, Shirley Li writes: theatlantic.com/culture/archiv…