Review
I am beginning to suspect that Franz Schreker was the most effective of the many semi-forgotten opera composers who were active in the German lands during the first decades of the twentieth century (that is, ones less well known today than Strauss, Berg, and Kurt Weill).
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This is free jazz perhaps, but it never sounds frantic, wild, or abandoned.
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Everyday Life and Other Odds and Ends is admirable because it takes contemporary theater into fresh territory — the slow paralysis of the body and the demands this decline makes on caregivers.
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Dear reader, do enjoy a second season of Bridgerton’s ornate balls, lush landscapes, and 19th century flirting.
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Rather than the usual story of assimilation, John Domini gives us a deftly written narrative of return, self-discovery, disillusionment, personal metamorphosis, and ultimately, rejection.
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Marvelously accomplished albums from American mezzo-soprano Joyce DiDonato and Canadian soprano Barbara Hannigan.
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Playing on their strengths and working within the limitations of each medium, both The Dropout and Bad Blood pull us into the very American story of Theranos’ and Holmes’ rise and fall.
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Mariama Diallo’s film is a subtle, sure-handed thriller that nevertheless delivers a stunningly deft commentary on the enduring horror of racism and sexism.
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Human Resources isn’t for everyone. It’s even weirder than Big Mouth (which is saying something), though this spinoff series still packs, at times, the same heartfelt punch.
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Sitting through Deep Water is like being trapped at an endless, sodden string of dinner parties that don’t go very well.
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Arts Feature: Best Movies (With Some Disappointments) of 2025