Featured
We need stories like The Wages to expose the hypocrisy and incoherence of the institutions that we are supposed to believe are pillars of justice.
In the age of truthiness, poet Frederick Seidel’s is a welcome voice.
Once is a wonderful musical and the Speakeasy Stage production does exquisitely right by its considerable merits.
Delia Owens suggests that the only forward movement for her outsider-protagonist and “swamp trash” is to become curators of ecological/cultural museums in the very places where they once struggled for an independent life.
The Half-Light is a play about ghosts that, while offering intimations of mortality, ends up exuding a charming and infectious romantic spirit.
Greta is a slight, uninspired by-the-numbers genre film — we’ve seen this paranoia-inducing tale too often.
Tina Cassidy talks about her revealing and enjoyable new book about how a woman’s right to vote became enshrined in the U.S. Constitution.
This is a finely-selected sampling of what some accomplished women filmmakers offered in 2018.
The Lyric Stage Company’s The Little Foxes is taut, tense, and eerily reflective of our own uneasy, pernicious times.
In very different ways and on very different topics, three recent books assuage notions that architecture/design books are formidable reads.
Visual Art Commentary: Silence Is Complicity — Why Museums Must Use Their Voice to Defend Democracy