World
Lessons of Later-in-Life Fatherhood
Forty-nine years ago, on what I recall as a Saturday morning when I was six and my father was fifty-six, I barged into the bathroom, as was my habit,...
“Materialists” Is a Feast of Talking Pictures
Words are actions, as anyone who’s ever been told “I do” or “You’re fired” knows. Yet, after nearly a century of talking pictures, most directors fail to depict talk...
Do Androids Dream of Anything at All?
Although the literature of automatism has existed in one mold or another since the late Middle Ages—with sixteenth-century folktales about a golem made of clay and summoned to life,...
Jean Smart and John Krasinski Go It Alone, on Broadway and Off
This has been the season of the star. For months now, possibly because the film and television industries spent 2024 in disarray, New York theatre has been a kind...
What Trump Missed at the Kennedy Center Production of “Les Mis”
On Wednesday evening, when the new Czar of All the Arts, Donald Trump, went to see “Les Misérables”—which is, we are told, along with “Cats,” and “Evita,” a favored...
Grocery Shopping with My Dead Dad
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How the Meanest Genre Got Nice
Two months ago, the world lost a gruff and burly guitar player named Al Barile. He was sixty-three when he died, after a battle with cancer, and those who...
Video Stores, Revival Houses, and the Future of Movies
With movie adaptations of books, the essential virtue is audacity, the readiness to transform the source material. That’s equally true of documentaries, as seen in “Videoheaven,” Alex Ross Perry’s...
What Did the Pop Culture of the Two-Thousands Do to Millennial Women?
“Girl on Girl,” by the critic Sophie Gilbert, is the latest and most ambitious in a series of consciousness-raising-style reappraisals of the decade’s formative texts. Source link
Haruka Aoki’s “Nothing to See”
Animals displaying human behaviors are often the stuff of fables, intent on communicating moral lessons. But in this work, by the Japanese American poet-illustrator Haruka Aoki, a cat is,...
