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Television Review: “Hacks” — Even Funnier on Tour

May 10, 2022
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It is not unusual for most series to hit a sophomore slump, but Hacks manages to avoid this fate, partly because of how deftly it expands on its original premise.

Book Review: The South – What Jim Crow Was and Wasn’t

May 9, 2022
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We need to realize how important class is in order to understand how inequality can rise as Confederate monuments fall.

Visual Arts Review: “Matisse: The Red Studio” – A Lesson in Objects

May 9, 2022
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Making the viewer draw visual connections among Matisse’s pieces in the title painting is at the core of MoMA’s The Red Studio.

Theater Review: “Sabina” — The Compelling Force of a Female Mind

May 9, 2022
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The musical’s book, lyrics, and score are strong enough to warrant productions elsewhere.

Filmmaker Interview: Arlington’s Eric Stange on his Documentary “Pony Boys”

May 8, 2022
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This is a delightful and moving tale that provides a much-needed bit of relief from the chaotic world we are currently navigating. Back before there was iPhones and social media, two little boys took off on an unlikely adventure that changed their lives.

Album Review: Maine’s Kioea — Reviving the Sound of Surf Guitar

May 8, 2022
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With summer coming, this progressive surf combo’s new recording promises to make an ideal soundtrack for the season.

Book Review: The Fascinating Story of “The Method”

May 8, 2022
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Isaac Butler’s stories about The Method’s effect on American film acting are insightful, particularly when he recounts how actors could be either inspired or angered when they embraced it.

Film Commentary: “Everything Everywhere All at Once” — The Most Serene Movie in Years

May 7, 2022
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This movie reminds us that — if there is any meaning to life at all — it’s what you bring to it, not what it brings to you.

Jazz Album Review: Manel Fortià Trio’s “Despertar” — Intelligently Lyrical

May 7, 2022
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Manel Fortià’s album of his Spanish-tinged compositions is meant to wake us up to what the bassist can do.

Book Review: Thomas Mann in America

May 5, 2022
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In the US, Thomas Mann tacitly proposed himself as an almost messianic figure, stately, dramatic, and wrathful at once, striding forth to represent German culture in exile and, increasingly, free Germany itself.

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