When you have a hateful demagogue on your talk show, or taunt a man for his father dying on 9/11, or hire Ann Coulter to be a human punchline, you flatten out evil.
Nate Parker is Black; in that sense, attacks against him are also attacks against me. How unsettling, then, that defenses of him are attacks against me, too.
How the seminal series became a masterwork in scoring teen angst, one lawn-twirl at a time.
On the 25th anniversary of the release of The Black Album, an appraisal of how Metallica’s Post-Good era helped secure its legacy as the greatest American band of all time.
Going a step further than the recent wave of TV featuring nuanced portrayals of mental illness, Maria Bamford’s new Netflix show takes control of the story rather than settling for mere visibility.
Released thirty years ago, Prince’s directorial debut seemed calculated to frustrate the fans who bought tickets to Purple Rain weekend after weekend.
A photograph is no more a memory or a gun than it is a murder or a moral code: On the work of Matt Bialer and the streets of New York City.
From the heartsick graverobbers of early Romantic literature to the latest gritty cable crime drama, the dead woman is never simply mourned and forgotten, but fully objectified and consumed.
The legendary war correspondent found domesticity and adventure are not easily balanced.