The Queue

The Queue is an oft-recurring column in which Meg Shields provides you with a distraction of curated video content sourced from across the web.

If you’re new to The Queue, start here:

Explore the full archives for The Queue below

Angry Young Man Trope If Malcolm Mcdowell

Unpacking the “Angry Young Man” Trope


He’s young, he’s angry, and he has something to say. 

La Dolce Vita

From Fellini to Felliniesque: The Turning Point of ‘La Dolce Vita’


Here’s a video essay on why ‘La Dolce Vita’ represents a stylistic shift in the career of Federico Fellini.

Mulholland Drive Winkies Diner

The Winkie’s Diner Scene is the Key to ‘Mulholland Drive’


Here’s a video essay on why the Winkie’s Diner scene is the key to understanding ‘Mulholland Drive.’

Portrait Of A Lady On Fire Ocean

The Cinematic Resonances of ‘Portrait of a Lady on Fire’


Here’s a video that teases out the cinematic resonances between ‘Portrait of a Lady on Fire’ and the work of Jane Campion, Stanley Kubrick, and others.

Inception ending

‘Inception’ and the Phenomenon of Subliminal Influence


Here’s a video essay about why Christopher Nolan’s ‘Inception’ still has us dreaming big, ten years later.

Hardware Metal Head

Alan Moore on the Call to Action of “Modernist Horror”


Here’s writer Alan Moore with a definition of “Modernist Horror” and a compelling case for why genre film can be a call to action.

Donnie Yen Fight Scene

The Secret to a Great Fight Scene Is Structure


Here’s a video essay on why the best action sequences are structured like stories rather than spectacles.

X Men First Class - Young group

The Most X-Cellent Scene in ‘X-Men: First Class’


There’s a team of video essayists dissecting their favorite scenes from the X-Men films. Here’s one of our favorites: a video on why the attack on Division X scene from ‘X-Men: First Class’ exemplifies the “warm house” archetype.

The House That Jack Built Matt Bruno

The Divine Comedy of ‘The House That Jack Built’


What we’re watching: a video essay explaining why Lars von Trier’s film is one of the funniest of 2018.