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Virginia Giuffre’s memoir is a grim indictment of Jeffrey Epstein and the cruel and powerful men (most of them still unnamed in public) who were his clients.
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Why was the original production of Merrily We Roll Along such an abysmal failure and how did it turn into a hit? Does the new film succeed in capturing the magic of the hit Broadway revival (and is that even possible)?
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Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
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A trio of holiday stories— two celebrate friendship, one features a stagestruck chicken.
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Lettuce is pushing funk forward, drawing on what has come before (Tower Of Power) and making some distinctive changes.
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For heavy music fans, the Saddest Day was a very good day.
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Olivia Laing’s hard-driven narrative, set mostly in 1975, combines a gay romance with a literary text about the dangers of resurfacing fascism, a discourse on 20th-century avant-garde film-making, and a political thriller.
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Two versions of “Hedda Gabler” — one gratifying, the other gauche.
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Two good reads: Boston harmonica player Jerry Portnoy’s memoir is an unflinching look at life as a sideman musician; the other is a history that shows how, without the Black stars he heard in Memphis, there would have been no Elvis or rock ‘n roll as we know it.
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Arts Commentary: From the Editor’s Desk — By Popular Demand, 2026