Review
A diary of shows attended – good, bad, and indifferent — at this year’s Big Ears Festival, as well as comments on some of the non-musical joys and hassles.
Kristoffer Borgli’s A24 feature flirts with social relevance but ends up exploiting a reality it refuses to confront.
Claude Lanzmann’s haunted pursuit of testimony and Henrietta Szold’s humanitarian legacy illuminate the enduring power of courage and conscience.
“Hacks” has been one of the best sitcoms in recent years.
However well or ill this smoldering novel works, it is undeniably compelling, with an ending neither tragic nor happy.
Faced with the bizarre evolution of John Lilly’s life and ideas, the directors were wise to refrain from sensationalism.
With its production of “Charlotte’s Web,” WFT has created a lovely, balanced experience — by turns obvious and full of nuance — that offers life lessons and the value of multigenerational sharing.
Vicky Osterweil examines how Unca Walt’s empire imposes a politically dangerous, patriarchal form of homogenization across all its intellectual properties—from the Marvel Cinematic Universe to cartoons, to “Star Wars” films and shows, and to amusement park “experiences.”
What may look at first like exercises in verbal acrobatics — closely rhymed sonnets, delicate madrigals, intricate sestinas — are simultaneously expressions of confessional, personal anguish.
The messaging and its delivery were never self-righteous — Puscifer provoked rather than preached.
Book Appreciation: “Gulliver’s Travels” at 300 — Small Men, Tech Bro Delusions