What Ayad Akhtar reveals, with stunning detail and a passion and an urgency rarely seen in American fiction, is that his is a story marked by a loneliness similar to that found in Melville, Dreiser, and T.S. Eliot, among others, and that puts him squarely in their company.
The irony implied by Junk after the curtain goes down is the realization that white collar crime does pay.
The script softens up the issue of patriarchal authoritarianism by plugging it into a family comedy structure.
Given the rise of radical Islamic terrorism, Disgraced is nothing if not timely.