Sins of Omission
Arthur Miller’s landmark play The Crucible illuminates the difference between informing and truth-telling.
Arthur Miller’s landmark play The Crucible illuminates the difference between informing and truth-telling.
In Suneil Sanzgiri’s new film, the landscape remains as a last witness to the violence of colonial power.
Marvel Studios has managed to recruit fans into rooting not just for its superheroes, but for the company’s business plan.
There has long been a gap between stereotypical ideas of women’s empowerment and gendered reality. Barbie explores these contradictions in miniature.
Luis Buñuel’s most famous film is a furious, if restrained, critique of the wealthy and a scathing look inside their collective unconscious.
Rachel Maddow’s podcast tells the story of American Nazis in the 1940s. But the era’s real and lasting authoritarian danger came from the spectacular growth of a national security state.
In Plain Style, Christopher Lasch showed that we can render even the most iconoclastic demands in common speech.
The Fall River Museum of Contemporary Art offers a place for working-class art without tokenizing or empty gestures of representation.
The so-called drag golden age is really a gilded age, where the runaway success of a few is made possible at the expense of the many.
In an increasingly expensive and antisocial world, tradwives forsake life with others for the lonely, constrictive spaces of bourgeois ownership.
Independent filmmakers offer a vital portal into the struggle against the theocratic regime.
If it is actually built, Akon City will be a monument to capital, excess, and waste.
The White House MasterClass series is a symptom of a moribund political culture in which power transforms a person into a celebrity.
While David Attenborough’s work rarely gives center stage to climate change, his project has always been to shift how humans relate to nature.
Like almost every other war film, The Battle at Lake Changjin is less a work of art than a social engineering project.