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"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…

“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…

The staff of The Atlantic deserve a fair contract with just cause—no exceptions! We’ll be at The Atlantic Festival next week, and we’re ready to finish this deal. #TAF2024

“The ceremony’s final 30 minutes perhaps proved the value of challenging the very tropes it spent three hours celebrating,” writes Shirley Li: theatlantic.com/culture/archiv…

As film-festival season winds down, Shirley Li picks the upcoming movies worth watching out for: theatlantic.com/culture/archiv…

these are 15 movies i am now painfully excited to see, curated by Shirley Li theatlantic.com/culture/archiv…

#Megalopolis left me nonplussed, so I asked Francis Ford Coppola what he was doing making a film that actively rejects the rules of filmmaking. There’s much I’m still baffled by, but at least we both love Christopher Nolan’s Interstellar. For The Atlantic: theatlantic.com/culture/archiv…

i very much did not enjoy megalopolis, but Shirley Li’s great convo with mr. francis ford himself did make me appreciate it more, at least: theatlantic.com/culture/archiv…

The “Anora” director Sean Baker has built his career by rejecting Hollywood norms. He spoke with Shirley Li about how the film’s success has left him with “an existential crisis”: theatlantic.com/culture/archiv…

Sean Baker's latest film, #Anora, is a sterling entry into a filmography packed with profoundly vivid tales of outsiders, but its success has created in him "a somewhat existential crisis." For The Atlantic, I spoke to him about the hustle of indie cinema: theatlantic.com/culture/archiv…

“Conclave,” a new film based on Robert Harris’s 2016 novel, “exposes the sometimes farcical nature of institutional practices by examining the fallibility of those who run them,” Shirley Li writes. “Even the most righteous among us are simply human.” theatlantic.com/culture/archiv…

“Say Nothing,” like its ambitious source material, captures the struggle of separating who you are from what you fight for, writes Shirley Li: theatlantic.com/culture/archiv…

For Jimmy O. Yang, starring on Hulu’s “Interior Chinatown” is more than a chance to be a leading man: The series also uncannily mirrors his life. Shirley Li reports on how, after years of small, clichéd parts, Yang has finally become a main character: theatlantic.com/magazine/archi…