The Curse achieves what I like to call Infinite Interpretability.
Continue reading “Everything is Nothing, Nothing is Everything”
The Curse achieves what I like to call Infinite Interpretability.
Continue reading “Everything is Nothing, Nothing is Everything”
Remember the slew of new documentaries — and May December — that explore what happens to someone’s personal life when artists come to town to adapt their existence into art?
Continue reading “Cursive”
There’s an art to making music.
Continue reading “The Music of Making Music”
Both the new movie The Iron Claw and the new TV series The Curse share a distinct cinematographic trait:
Continue reading “The Iron Curse”
With The Highwaymen, Netflix returns to its FPFP roots: Faux-Prestige FacePlants.
Conformist cultural commentators on the interwebs like to boast about how TV’s toppled film in recent years.
Jim Parsons is finally turning into a good actor!
Continue reading “Parsing the Career of Jim Parsons (Briefly)”
In an age dominated by nonprofit theatre companies taking over Broadway houses —from Roundabout’s conquest of the Sondheim to Second Stage’s brand-spanking-new ownership of the Helen Hayes — the New Group should move into the Circle in the Square (once its current tenant, Once on this Island, closes).
This week, I mix in a few more personal observations along with my usual news recaps:
Some thoughts on the new music singles released this week: