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Count among Tom Petty’s many talents the ability to trade his superstar role for that of being just another member of the band.
WGBH is exploring an interesting question — how little can you invest in arts coverage and still have the chutzpah to ask for money from supporters who mistake crumbs for a loaf?
Dave Malloy’s musical version of Moby-Dick shows promise, but he needs to trim plenty of blubber.
The likable Commonwealth Shakespeare Company staging leans very heavily on the comedy in ALL’S WELL THAT ENDS WELL, minimizing the Bard’s melancholic undertow.
The Berkshire Theatre Group production of “Metamorphoses” is consistently engaging and, at times, deeply powerful.
Naomi Klein argues that the more anxious we are, the more vulnerable we are to politically opportunistic manipulation.
The Andromeda Strain’s anti-intellectualism is rooted in Cold War paranoia: a distrust of science, of academia, and of the press.
In his dozen or so works of international best-selling fiction, Haruki Murakami has created an alternate-reality Japan that is at once magical and familiar, dangerous and comfortable, foreign but Westernized.
This thoughtful study offers a worthwhile critical perspective on Werner Herzog, one of the world’s great living film artists.
Book Review: Karl Kraus’s Prophetic “Third Walpurgis Night” — Listening to the Music of an Ocean of Mud
“Let my style capture all the sounds of my time. This should make it an annoyance to my contemporaries. But later generations should hold it to their ears like a seashell in which there is the music of an ocean of mud.”— Karl Kraus
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