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The New Yorker's Tyler Foggatt on how the actor's death-defying physical performances are essential to the success of the series.
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Before Game One against the Pacers, predictions rolled in from some under-the-radar fans: Peter Gelb, George Santos, Julian Casablancas, and a clarinettist at the New York Philharmonic.
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The film succeeds in part by flipping the franchise's standard script: the main characters aren't embarrassed because they're superheroes; they're embarrassed because they're not.
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When we watch the actor's stunts, we are watching someone defy death, over and over again. It's impossible to look away.
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A sprawling exhibit at the Met charts the medium's era of busy development.
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When the star was robbed at gunpoint, in 2016, the incident announced her graduation into something greater than a glorified Instagram influencer. Now her courtroom testimony is just another cog in her family's media machinations.
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From the daily newsletter: How Americans came to mistrust the government. Plus: Donald Trump race-baits South Africa's leader; and what to watch this summer.
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The sports correspondent on John Updike's "Hub Fans Bid Kid Adieu"--his account of Ted Williams's last game, and last home run, with the Boston Red Sox.
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Before he passed away last week at ninety-six, Strouse discussed working with Jay-Z, his rivalry with Stephen Sondheim, and the "God-given gift" of composing.
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"The Director" uses the filmmaking career of G. W. Pabst to map the moral and artistic disintegration of Nazi-occupied Europe.
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