Wade and Kevin have tackle two films based on real life subjects: A Beautiful Day in the Neighborhood and Ford vs. Ferrari in this week’s episode.

Erin and Hannah wrap up The Creative Process series with a discussion about the tensions that must be acknowledged as part of the creative life.

Pyre utilizes the narrative power of interactive fiction to remind you of a simple truth: that you are not your own.

Wade and Kevin continue exploring the supernatural with the novel/movie sequel Doctor Sleep along with indie darling, Light From Light.

Combining both consumerism with an early adoption of digital technology, the VSCO girl shows us who we really are; we can just see it better in the teen trend.

Erin and Hannah continue their series, The Creative Process, by inviting Erik Lokkesmoe to a conversation about marketing reach and impact in creative work.

All these struggles to define what art is really boil down to fear—a fear that elitism will strangle joy out of what it is we all enjoy consuming.

Seeing & Believing wades into Taika Waititi’s Jojo Rabbit, set in Nazi Germany, and The Lighthouse, from the director of the The Witch.

Everts encourages Believers to go back to meditating on God’s Word which subsequently fills us up for authentic, instead of forced, conversations with non-Christians.

We can learn from Deanna Troi’s striking example of the importance of normalizing and encouraging mental health.

In this episode of Persuasion, Erin and Hannah continue The Creative Process series with Mike Cosper talking about productivity in creative work.

Unlike abuse, love does not excuse or minimize wrongdoing.

Critic Ryan Holt returns to the show to help Kevin explore the bonkers plot of Parasite and Wade sits down with Wired senior writer Brian Raftery

To make an influence on the culture-at-large, Christians don’t need a big-name artist like Kanye West to co-opt the Christian message of grace, mercy, forgiveness, and justice.

On the last night of October, we gather up plastic jack-o-lanterns, light up sneakers, and shuffled candy wrappers. We look straight into the façade of evil victories and declare that hell has no hold on us.

The claustrophobic feeling of the not-knowing forces us inside ourselves to examine our own reactions to the scenarios presented in the stories and—in the case of movies—on the screen.