Aaron Bady

Contributing Writer

Aaron Bady is a founding editor at Popula. He was an editor at The New Inquiry and his writing has appeared in The New Yorker, The New Republic, The Nation, Pacific Standard, The Los Angeles Review of Books, and elsewhere. He lives in Oakland, California.

.imgHideOnJavaScriptDisabled_https://mediacloud.theweek.com/image/private/s--M7MyZ8FQ--/f_auto,t_card-mobile@1/v1608609597/back_to_life.jpg { display: none !important; }

Feature

Back to Life understands the secret can be more powerful than the reveal

.imgHideOnJavaScriptDisabled_https://mediacloud.theweek.com/image/private/s--V8CjZau7--/f_auto,t_card-mobile@1/v1608609082/gettyimages-1061906516.jpg { display: none !important; }

Feature

Fire in Paradise is 40 minutes of terror

.imgHideOnJavaScriptDisabled_https://mediacloud.theweek.com/image/private/s--NkvUO__p--/f_auto,t_card-mobile@1/v1608607351/dynasties.jpg { display: none !important; }

Opinion

How aristocrats ate prestige TV

.imgHideOnJavaScriptDisabled_https://mediacloud.theweek.com/image/private/s--V-yzVyrw--/f_auto,t_card-mobile@1/v1608596461/readyornot.jpg { display: none !important; }

Feature

How Ready or Not escaped The Hunt's fate

.imgHideOnJavaScriptDisabled_https://mediacloud.theweek.com/image/private/s--MoX0eVxc--/f_auto,t_card-mobile@1/v1608595012/successionwealth.jpg { display: none !important; }

Opinion

The problem with Succession's half-baked class politics

.imgHideOnJavaScriptDisabled_https://mediacloud.theweek.com/image/private/s--CTgCW55K--/f_auto,t_card-mobile@1/v1608594183/derry.jpg { display: none !important; }

Feature

The anti-nostalgic power of Derry Girls

.imgHideOnJavaScriptDisabled_https://mediacloud.theweek.com/image/private/s--8RMBLrIF--/f_auto,t_card-mobile@1/v1608592496/the_boys.jpg { display: none !important; }

Feature

Superheroes, they're just like us

.imgHideOnJavaScriptDisabled_https://mediacloud.theweek.com/image/private/s--aVftmHn6--/f_auto,t_card-mobile@1/v1608591124/trawley.jpg { display: none !important; }

Opinion

The future of Trumpism is more erudite — and just as frightening

.imgHideOnJavaScriptDisabled_https://mediacloud.theweek.com/image/private/s--G_5oZBzw--/f_auto,t_card-mobile@1/v1608590319/taco.jpg { display: none !important; }

Feature

Netflix's Taco Chronicles is deliciously predictable

.imgHideOnJavaScriptDisabled_https://mediacloud.theweek.com/image/private/s--3eHcnwZh--/f_auto,t_card-mobile@1/v1608589129/stranger.jpg { display: none !important; }

Feature

Why Stranger Things' nostalgia isn't quite as magical in season 3

.imgHideOnJavaScriptDisabled_https://mediacloud.theweek.com/image/private/s--KuaJ53-G--/f_auto,t_card-mobile@1/v1608588136/df-07090_rv2.jpg { display: none !important; }

Analysis

What's missing in Spider-Man: Far from Home

.imgHideOnJavaScriptDisabled_https://mediacloud.theweek.com/image/private/s--3itBbDw1--/f_auto,t_card-mobile@1/v1608587521/ailes.jpg { display: none !important; }

Opinion

Roger Ailes and the liberal myth of the conservative genius

.imgHideOnJavaScriptDisabled_https://mediacloud.theweek.com/image/private/s--V3JwL0Vh--/f_auto,t_card-mobile@1/v1608587224/6e79b8ba9ebc3d19f27659d79a4ce4064011e953bfc351f116e7be4b74846e43cf4df7b2c9d0c637cd0df7fa43741f38.jpg { display: none !important; }

Feature

How Big Little Lies subverts the murder mystery

Image from The Last Black Man in San Francisco poster.

.imgHideOnJavaScriptDisabled_https://mediacloud.theweek.com/image/private/s--S-tGrQHr--/f_auto,t_card-mobile@1/v1608583388/san_fran.jpg { display: none !important; }

Opinion

What The Last Black Man in San Francisco, a movie ostensibly about gentrification, leaves out about gentrification

.imgHideOnJavaScriptDisabled_https://mediacloud.theweek.com/image/private/s--mKpXNtMV--/f_auto,t_card-mobile@1/v1608585149/central_park_five.jpg { display: none !important; }

Opinion

The danger of knowing one thing about the Central Park Five

.imgHideOnJavaScriptDisabled_https://mediacloud.theweek.com/image/private/s--K2dpbCbM--/f_auto,t_card-mobile@1/v1608582952/bf0643f7b265541b0b7e01ce9cc6f79b3080b17a88823e4a781a5ad85dca559ad71ba6757fd7b74a920479dd66ac94cb.jpg { display: none !important; }

Feature

The Deadwood movie shows there's still a big difference between films and prestige TV

.imgHideOnJavaScriptDisabled_https://mediacloud.theweek.com/image/private/s--sEN1Q_Xo--/f_auto,t_card-mobile@1/v1608581373/chernobyl.jpg { display: none !important; }

Feature

Is Chernobyl historically accurate about the things that matter?

.imgHideOnJavaScriptDisabled_https://mediacloud.theweek.com/image/private/s--0bpm89YL--/f_auto,t_card-mobile@1/v1608579532/fleabag-season-two-fleabag-2_20180917_d18_ep02_0187_rt_fnl.jpg { display: none !important; }

Feature

What Fleabag's 'hot priest' storyline gets so right about sex and love

.imgHideOnJavaScriptDisabled_https://mediacloud.theweek.com/image/private/s--iaI11nAR--/f_auto,t_card-mobile@1/v1608578348/clarke.jpg { display: none !important; }

Feature

Aaron Bady

Back to Life understands the secret can be more powerful than the reveal

Fire in Paradise is 40 minutes of terror

How aristocrats ate prestige TV

How Ready or Not escaped The Hunt's fate

The problem with Succession's half-baked class politics

The anti-nostalgic power of Derry Girls

Superheroes, they're just like us

The future of Trumpism is more erudite — and just as frightening

Netflix's Taco Chronicles is deliciously predictable

Why Stranger Things' nostalgia isn't quite as magical in season 3

What's missing in Spider-Man: Far from Home

Roger Ailes and the liberal myth of the conservative genius

How Big Little Lies subverts the murder mystery

What The Last Black Man in San Francisco, a movie ostensibly about gentrification, leaves out about gentrification

The danger of knowing one thing about the Central Park Five

The Deadwood movie shows there's still a big difference between films and prestige TV

Is Chernobyl historically accurate about the things that matter?

What Fleabag's 'hot priest' storyline gets so right about sex and love

Game of Thrones' last big reveal