Arts
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Review: ‘Cat on a Hot Tin Roof’ Knows Its Good Angles
We know from his personal writing (and context clues) that Tennessee Williams was into trade: hypermasculine men who are just…
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Covid. A Coma. A Stroke. José Parlá Returns From the Edge.
DETROIT — During the three months last year that the artist José Parlá was in a medically induced coma after…
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Review: In ‘Bottom of the Ocean,’ a Deep Dive Into the Soul
A spa day, a sound bath, a moving meditation and an initiation into strange and tentacled rites, “Bottom of the…
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America Has a Problem and Beyoncé Ain’t It
It’s too much, this being alive. Too heavy, too uncertain, too chronically cataclysmic, too bellicose, too unwell, too freighted with…
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Beyoncé’ Unveils ‘Renaissance,’ the First of Three New Projects
The new Beyoncé album has officially arrived. In a rare breach of the pop queen’s carefully choreographed release plans, an…
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Heh-Heh. Huh-Huh. Mike Judge Brings Back ‘Beavis and Butt-Head.’
There are certain sounds that will forever evoke the 1990s in our collective sense memory. The opening guitar riff of…
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At the Serpentine, a Show of Nature’s Healing Power
It all started with extinction. An Extinction Marathon, actually: 12 hours of people talking about how species die out and…
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‘Vengeance’ Review: A Dish Best Served With Frito Pie
Ben Manalowitz, who writes for The New Yorker (he’s played by B.J. Novak, who has been published in its pages),…
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‘Sharp Stick’ Review: The Babysitter’s Schlubs
Sarah Jo (Kristine Froseth), the mythical seductress at the center of “Sharp Stick,” an uneven, uneasy fable of desire by…
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‘Resurrection’ Review: Mother of Fears
Somewhere near the end of “Resurrection,” a sleek, hurtling, ridiculously entertaining horror movie from Andrew Semans, there’s a scene of…