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The Chair asserts that professors have lives outside the university and they are demanding and draining.
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Childish Gambino is hamstrung by ambition, but 3.15.20 still contains a bevy of enjoyable songs, including one or two tracks that brush against brilliance.
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If Charlie Harmon’s story jumps around a bit and reads rather like a series of diary entries, it’s at the very least engaging and, for the most part, entertaining.
Read MoreBy Bill Marx Television offers so little discussion of local stages that I had to check out WGBH’s Greater Boston segment on the state (artistic and financial) of the city’s theater, which aired last week. Of course, I wasn’t expecting much, but I was surprised that – in a predictable effort to assuage the anxieties…
Read MoreCurator Jorge Antonio Fernández succeeds, for the most part, in creating a stimulating show that is held together by formal and conceptual associations, not just political concerns.
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The long-anticipated pairing of Gov’t Mule and the Tedeschi Trucks Band turned out to be one of those rare moments when the live performance outshined even the promise on paper.
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Three fine documentaries at the NYFF: two delved into political matters, the third looked around New York City in 1965.
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Ratched is lurid, violent, sexually explicit, outrageous, and has nothing whatsoever to do with Ken Kesey’s novel or Milos Forman’s award-winning film adaptation.
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Book Review: Searching for “Truth and Repair” — Asking Rape Survivors For Their Vision of Justice
For real change to happen, argues Judith Herman, “crimes of dominance and subordination would need to be approached as a matter of public health as well as public safety, with prevention as a primary goal.”
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