Where affirmative action was about compensatory justice, diversity is meant to be a shared benefit. But does the rationale carry weight?
The New Museum’s “Trigger: Gender as a Tool and a Weapon” is milder than its title suggests. Even so, it still packs a punch or two.
She made the best music of her generation by falling in love, over and over, while defending her sense of self.
“Chester B. Himes,” “Saving Charlotte,” “The Burning Girl,” and “Border Child.”
The semi-autobiographical series mines what Tig Notaro has described as her “worst year ever.”
Sean Baker’s film about childhood and Disney World, starring Willem Dafoe, and Ritesh Batra’s autumnal romance, starring Robert Redford and Jane Fonda.
In “Don’t Call Us Dead,” the poet brings the unruly power of performance to the written word.
“The Lowells of Massachusetts,” “The End of Advertising,” “The Dark Dark,” and “The Mapmaker’s Daughter.”
To see “The Red Letter Plays” is to understand how Hawthorne’s novel gave the playwright permission to explore her own gothic sensibility.
Doug Liman’s yarn about drug running and C.I.A. intrigue, starring Tom Cruise, and Stephen Frears’s Queen Victoria bio-pic, starring Judi Dench.
