Rongbin Han is a Professor of International Affairs at the University of Georgia, where he studies Chinese politics and the internet. Han’s latest book—and the topic of this New Books Network episode—is Make China Great Again: Online Alt-History Fiction and Popular Authoritarianism (Columbia UP, 2026).

Make China Great Again delves into a subgenre of Chinese web novels that attempt to re-imagine the country’s history in ways that align with Xi Jinping’s “Chinese dream” and the “great rejuvenation of the Chinese nation”. In these novels, characters might go back in time to foment a communist revolution decades before the PRC’s establishment, industrialize the late Ming dynasty, or bring elements of democratic elections to the Song dynasty. 

Given the popularity of web novels in China—almost half of Chinese netizens read internet literature—such alternate histories provide a window into how an authoritarian state can negotiate the consent of its citizenry using popular culture. 

Anthony Kao is a writer who intersects international affairs and cultural criticism. He founded/edits Cinema Escapist—a publication exploring the sociopolitical context behind global film and television—and also writes for outlets like The Guardian, Al Jazeera, The Diplomat, and Eater.

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Todd Berliner's Hollywood Renegade: Elaine May, Mikey and Nicky, and the Making of a Masterpiece (U Texas Press, 2026) examines Elaine May’s Mikey and Nicky with stands out in the history of Hollywood. After a troubled production, massive cost overruns, and lawsuits between May and the studio, the film received scathing reviews and failed at the box office. But the very qualities that initially alienated viewers and reviewers led later generations to regard the film as an overlooked masterpiece.

Written and directed by the period’s only female New Hollywood filmmaker, Mikey and Nicky has not received the attention given to other unconventional films of the 1970s. But May worked for years to give each moment of the movie multiple areas of interest. She made every character, even peripheral ones, nuanced and memorable. And she designed every scene, even minor ones, as a performance event. Her lead actors, Peter Falk and John Cassavetes, thrived under her unorthodox directing style, earning acclaim even from reviewers who hated the movie. Decades in the making—years of scriptwriting, a shoot that spanned ten months, and three years spent editing—Mikey and Nicky shows us what Hollywood cinema can accomplish when talented filmmakers challenge Hollywood’s limited notion of professionalism, rejecting the harsh time pressures of commercial filmmaking in order to get the most out of every scene.

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We are often told that social media well-being is simply the result of individual users making healthy digital choices. All it takes is a little self-discipline. In Healthy Users: The Governance of Well-Being on Social Media (U California Press, 2025) Niall Docherty looks closely at this belief and exposes the complex relations of power expressed through its articulation and enactment. Docherty creatively and empirically shows how the discourses, designs, and habits of online well-being push user conduct in certain directions, at the expense of others. This is a contingent mode of governance that combines logics of neoliberalism, practices of psychologized person-making, and persuasive capitalist interfaces. By highlighting the damaging effects of this current arrangement, Healthy Users charts a path that will change how we understand and study social media well-being in the future.

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After the groundbreaking success of his debut film, Boyz N the Hood in 1991, filmmaker John Singleton (1968–2019) gained worldwide acclaim, earned the respect of major film industry figures, and became the topic of both scholarly and popular culture film conversations. He also made history by becoming the youngest—and the first African American—nominee for the Academy Award for Best Director. However, lukewarm reception for his sophomore release, Poetic Justice in 1993, dampened the momentum of his early promise, and critical interest in his subsequent work waned. Once Upon a Time in South Central LA: John Singleton’s Hood Trilogy (UP of Mississippi, 2026) seeks to reframe Singleton’s legacy and reaffirm his significance as a filmmaker.

Author Mark D. Cunningham argues that Singleton’s so-called “hood trilogy”—Boyz N the Hood, Poetic Justice, and Baby Boy (2001)—offers a vital cinematic lens into the lived experiences of young African American men and women. Blending film analysis with literature, music, sociology, and cultural studies, the volume positions Singleton’s work as a critical intersection of African American history, identity, and popular culture. Cunningham explores Singleton’s portrayal of Black masculinity, the social environment of South Central Los Angeles, and the impact of hip-hop culture on gender dynamics. By revisiting Singleton’s early career and the cultural weight of his films, Once Upon a Time in South Central LA reasserts the filmmaker’s place in the cinematic canon and highlights the enduring influence of his work on African American youth and storytelling.

Dr. Mark D. Cunningham is professor and chair of the Department of Radio-Television-Film at Austin Community College. His research focuses on film and television studies, with an emphasis on Black filmmakers, screen adaptations, and representations of race and identity in popular media. His scholarship engages figures such as directors John Singleton, Spike Lee, Barry Jenkins, and rapper/actor Ice-T. His work has appeared in The Atlantic and The Journal of Cinema and Media Studies, and he has contributed to numerous edited volumes in film, television, and media studies. You can find Mark on Instagram.

Subscribe, like, follow, and rate Additions to the Archive with Sullivan Summer on Instagram, Substack, and wherever you get your podcasts. And check out Sullivan's Substack for a continued conversation between she and Mark, as they discuss the hood trilogy's impact in the 21st century.

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John Madden retired abruptly from coaching in 1979, five months after receiver Darryl Stingley suffered a paralyzing injury against his Raiders. The tragedy would never leave him. He had no intention of entering broadcasting. Yet, within a decade—BAM!—he had become the most recognizable voice in football and a driving force behind America’s most powerful sports league.

Veteran sports journalist Scott Howard-Cooper reveals how Madden recast himself at exactly the right moment. Television was transforming sports, and the NFL needed a translator to turn complex strategy into entertainment. Madden didn’t just analyze football; he redefined how it was watched and loved—from the telestrator and pregame film study to Thanksgiving football.

But BAM! goes beyond the booth, tracing Madden’s personal life, unguarded moments, unexpected turns, and his influence through advertising, network wars, labor battles, concussion debates, and the Madden NFL video game—which reshaped gaming and brought football to new generations. Yet, Madden could never entirely escape what the game demanded from the men who played it.

BAM!: John Madden, the NFL Explosion, and the Video Game that Changed Sports (Diversion Books, 2026) is the story of how one rumpled, affable man became a defining figure in football’s greatest boom—and its reckoning —and why the NFL cannot stop invoking his name.

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What is the place of poetry in the modern world? In Poetry in General: How a Literary Form Became Public (Columbia UP, 2025), Keegan Cook Finberg, an Associate Professor of English at University of Maryland, Baltimore County narrates the contemporary history of poetry as the emergence of a public literary form. The book shows poets' engagement with social and economic changes, such as the rise of bureaucracy and office jobs, suburbanisation, feminism, and neoliberalism, alongside changes in literary forms and literary practices In doing so, the analysis demonstrates both the importance of poetry to reflect social and economic change, as well as its potential as a critical force in our moment of social and economic crisis. Ranging widely across individual poets, artistic collectives, and performance activities, the book will be of interest across the humanities, as well as anyone interested in why poetry matters today. 

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Pink Auteur, Red Outlaw: Adachi Masao and Japan’s Cinema of Revolution (Awai Books, 2026) is the first-ever English-language book on Adachi Masao. Based on extensive interviews with the director and years of research, this study offers a comprehensive portrait of the filmmaker and his provocative oeuvre – from socially engaged pink films and New Wave cinema to experimental documentary and avant-garde psychodrama. An essential read for those interested in cinema, history, or politics.

Author William Andrews is a Tokyo-based writer and translator originally from Britain. He is the author of The Japanese Red Army: A Short History and Dissenting Japan: A History of Japanese Radicalism and Counterculture, from 1945 to Fukushima. His translations in the visual and performing arts have been widely published.

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In Traveling the Yellow Brick Road: What We Learn from The Wizard of Oz and Wicked (McFarland, 2026) Steven Keslowitz explores how The Wizard of Oz and Wicked can represent the promises and contradictions of the American dream. They engage the American spirit as separate works that share a distinct universe. By reimagining the moral framework of the 1939 Oz film, Wicked challenges long-held beliefs about the nature of heroism, villainy, and truth. Together, the films offer a complex portrait of American motivations and obstacles.

Centered on character, journey, and perspective, this book explores the lessons of these works in identity, ethics, and the human impulse to divide the world into good and evil. It also reveals the layered political allegories and symbolic structures embedded in both films through close reading and cultural analysis, situating Oz within contemporary social and political contexts as well as emphasizing themes such as censorship, environmentalism, disability discrimination, and the opioid crisis. By reframing Oz as a mirror of societal contradictions rather than as a nostalgic escape, it illuminates various—and often uncomfortable—truths about American identity and culture.

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When Neil Selkirk first saw one of Arbus’s photographs as a young man at someone’s house in London, it almost sent him screaming into the street. Unsettled and shaken, the encounter instead opened his eyes to the uncanny powers of photography. It turned Selkirk into an important photographer and, ultimately, an indispensable collaborator to some of the greatest photographers of all time, including Richard Avedon, Diane Arbus, and other greats. In our conversation on great photographers and the art of photography, based on Selkirk’s edited book Why Photographs? (Warbler, 2026) we discuss essential dimensions of photography, including riveting detail, spontaneity, credibility, and the gift of chance, and how they were celebrated by early photographers but soon denounced by an establishment that saw photography as a threat to painting. 

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The English Christmas carol has been sung in court and cloister, tavern and field since medieval times. But with the first Festival of Nine Lessons and Carols in 1880—and with a view to encouraging revellers into church—the humble carol became integral to the Christmas tradition. Carol concerts are attended all over the world, and the service at King’s College, Cambridge, has been broadcast since 1928 to millions of listeners.

In Christmas Carols: An English Enchantment (Yale University Press, 2026), singer and author John Potter guides us through the development of this unique tradition. Carols, originating as secular delights of the medieval and Tudor court and chapel, were brought by the Victorians to a new urban audience. Priests, poets, and composers have rearranged ancient songs and created new ones ever since, incorporating European carols into the evolving English tradition.

Taking us from their earliest origin to their flourishing during the early music revival, this is an enlightening account of a beloved phenomenon.

This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts.

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Exploring how digital visual effects have changed the representations of the body and identity in action films. When Harrison Ford appeared digitally de-aged in Indiana Jones and the Dial of Destiny, audiences witnessed more than a technical feat; they saw how visual effects are reshaping what bodies can be on screen. In Action Bodies: VFX, Identity, and Embodiment in Blockbuster Cinema, Drew Ayers (Eastern Washington University) examines how the contemporary action genre redefines embodiment across human, superhuman, animal, and machine forms. Ayers argues that action films are a crucial site for understanding how popular media both reflect and shape cultural debates about identity, citizenship, disability, and ethics in the era of big data and algorithmic culture. Through case studies including Top Gun: Maverick, The Woman King, The Fast & the Furious franchise, and Avatar: The Way of Water, Ayers explores how VFX-altered bodies carry ideological weight. While the action genre has long leaned conservative in its politics of identity, its digitally mediated bodies also generate unexpected opportunities: glimpses of more inclusive and flexible modes of embodiment. As artificial intelligence and synthetic imagery continue to transform film production, Action Bodies demonstrates why careful attention to action cinema is essential for understanding how contemporary culture imagines and engineers the future of the body.

Drew Ayers is a professor of film at Eastern Washington University. He is the author of Spectacular Posthumanism: The Digital Vernacular of Visual Effects, and his work has been published in animation, Configurations, Convergence, and Film Criticism.

Cory Barker is a faculty member in the Donald P. Bellisario College of Communications at Penn State University, where he teaches courses on film, television, and digital culture. Newsletter.

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