Our roundtable discusses 'High Sparrow,' the third episode of the fifth season
Showtime's latest comedy series, Happyish, isn't as profound or original as it thinks it is.
Highlights from seven days of reading about entertainment
In an interview with Diane Sawyer, the Olympic champion and reality-television star said he identifies as a woman.
Thirty years ago, Seventh Avenue lost its first designer to the disease during a time when people were afraid to even say its name.
Christian Longo's tale is not just about deception. It's the horrifying reality of a man who murdered his wife and children.
Nearly 20 years after the novel's release, Chuck Palahniuk's Fight Club antagonist is back—in comic-book form.
Why there are so many women who claim to have been the inspiration for the iconic "We Can Do It!" poster
The Age of Adaline is an earnest tale about a woman (Blake Lively) whose mysterious affliction is to stay 29 forever, but the lavish storytelling can't make up for a preposterous premise.
Montage of Heck offers the most intimate portrait possible of the Nirvana singer. That still doesn't mean you can understand him.
Last week, the Democratic presidential candidate unveiled her campaign logo. Though controversial, it has the potential to become a powerful brand in its own right.
In the third-season finale of The Americans, Philip and Elizabeth's daughter got more insight into her parents' lives, and made a devastating but inevitable choice.
Toni Morrison's new novel, God Help the Child, mines lyrical power and human strength from childhood suffering.
The brand, in its collaboration with Target, provoked ire—proving that, in the right circumstances, even sundresses can be part of the culture wars.
After a period away from the public eye amid a confrontation with her longtime collaborator, the pop star played a tiny rock venue in Washington.
In the third season of the brilliant Inside Amy Schumer, the comedian's presence is indelible, even when she barely appears at all.
The author and editor Kate Bolick found that "imaginary time-traveling"—projecting herself into the life of someone else—helped her feel closer to women she admired.
In his final novel, Our Souls at Night, Kent Haruf proved that he could still speak the language of the young.
Weighing whether the writer is a real custodian of journalistic values or just an overqualified provocateur
Saul Bellow never ceases to give biographers a hard time.
The Nobel Prize winner and author of The Grapes of Wrath on the importance of waiting for love
Nobel laureate John Steinbeck (1902-1968) might be best-known as the author of East of Eden, The Grapes of Wrath, and Of Mice and Men, but he was also a prolific letter-writer. Steinbeck: A Life in Letters constructs an alternative biography of the iconic author through some 850 of his most thoughtful, witty, honest, opinionated, vulnerable, and revealing letters to family, friends, his editor, and a circle of equally well-known and influential public figures.
Among his correspondence is this beautiful response to his eldest son Thom's 1958 letter, in which the teenage boy confesses to have fallen desperately in love with a girl named Susan while at boarding school. Steinbeck's words of wisdom—tender, optimistic, timeless, infinitely sagacious—should be etched onto the heart and mind of every living, breathing human being.
What is the Islamic State?
Where did it come from, and what are its intentions? The simplicity of these questions can be deceiving, and few Western leaders seem to know the answers. In December, The New York Times published confidential comments by Major General Michael K. Nagata, the Special Operations commander for the United States in the Middle East, admitting that he had hardly begun figuring out the Islamic State’s appeal. “We have not defeated the idea,” he said. “We do not even understand the idea.” In the past year, President Obama has referred to the Islamic State, variously, as “not Islamic” and as al-Qaeda’s “jayvee team,” statements that reflected confusion about the group, and may have contributed to significant strategic errors.
“Don’t underestimate me,” declared newly announced presidential candidate Bernie Sanders to George Stephanopoulos on Sunday. That may be good advice.
By conventional standards, Sanders’s candidacy is absurd: He’s not well known, he doesn’t have big money donors, he’s not charismatic, and by Beltway standards, he’s ideologically extreme. But candidates with these liabilities have caught fire before. Think of Jerry Brown, who despite little funding and an oddball reputation outlasted a series of more conventional candidates to emerge as Bill Clinton’s most serious challenger in 1992. Or Pat Buchanan, who struck terror in the GOP establishment by winning the New Hampshire primary in 1996. Or Howard Dean, who began 2003 in obscurity and ended it as the Democratic frontrunner (before collapsing in the run-up to the Iowa Caucuses). Or Ron Paul, who in 2012 finished second in New Hampshire and came within three points of winning Iowa.
When I was a teenager, I wished for many things. I was determined to be a historian like my intellectual idol, A.J.P. Taylor, whose television lectures on British and European history held me spellbound. I wanted to lead a political party and deliver speeches to adoring supporters. These were big dreams for a working-class kid from Glasgow whose family had never sent anyone to university.
And yet the dreams somehow came true. I went to Oxford for my doctorate and even got Alan Taylor as my supervisor, before joining the faculty of the London School of Economics. I also established a political party, UKIP, whose goal was to halt the European Union’s encroachments on British democracy and whose fortunes now constitute one of the major storylines of Britain’s general election on Thursday.
Two years ago, a Dutch creative agency opened a concept restaurant in Amsterdam that would be, in the words of its founder, “the perfect place to dine in pleasant solitude.” The restaurant is called Eenmaal—this name has been translated into English as “dinner for one”—and was launched in an attempt to start dissolving the stigma attached to going out alone. Apparently picking up on the same cultural drift, a new fast-casual restaurant in Washington, D.C., has tiered, bench-like seating with individual trays, an arrangement that caters to solo diners.
As antisocial as those ideas may sound, it’s surprising that the world hasn’t seen more of them. Today, more than a quarter of American households are home to just one person—a figure that has tripled since 1970. Also, the median age at which Americans get married has recently reached a record high. Given these demographic shifts, one would think that by now, going out to the movies or to dinner alone wouldn’t be the radical acts they still are.
The recent Bridal Fashion Week in New York, which previewed wedding gowns for the Spring 2016 season, featured all the things you'd expect: lace, crystals, tulle. (So much tulle!) It also featured, however, something you wouldn't, necessarily, expect: skin. (So much skin!) Skin not just of traditionally exposed bridal body parts—arms and shoulders and calves—but also of stomachs and sides and backs.
There was the Marchesa gown that leaves its wearer's back bare save for a line of covered buttons. There was Theia's pants-based ensemble, the focal point of which is a bra worn under an iridescent blouse. There was the spate of dresses that, taking their cue from ready-to-wear trends, featured cutouts—at the waist (Reem Acra), in the back (Monique Lhuillier), between the breasts (Angel Sanchez). There were the many two-piece affairs, with fits both boxy and snug, showing flirty flashes of midriff. There were the nearly invisible nettings—draped, wantonly, over shoulders and backs and necklines—that offered, in everything but the most up-close of views, the illusion of bareness. There were the many dresses that took their plunging necklines to their logical conclusions: their wearers' waists.
What is the appropriate penalty for having sex on the beach? This is a story about how that offense, like so many others, allows a penalty far longer than is just.
Were I a cop who stumbled on a couple hooking up beneath a blanket at night I'd look away. Confronted with people going at it during daylight hours in view of passersby, I'd think, "The abrasiveness of sand dissuades most people from doing this and the best outcome would be for Fark.com to mock their breach of community standards, but I suppose I'm obligated to make them stop and issue a ticket."As a prosecutor, I'd seek a sentence of community service plus one weekend of house arrest with the Jimmy Buffett song "Who's the Blond Stranger?" played on repeat over and over and over. A person never forgets that.
In the 2001 movie Donnie Darko, a group of teenage boys are drinking and shooting guns when the topic of conversation turns, as you might expect, to the topic of women. “We gotta find ourselves a Smurfette,” one of them says.
“Smurfette?” his friend asks.
“Mm-hmm. Not some, like, tight-ass Middlesex chick, you know? Like, this cute little blonde that will get down and dirty with the guys. Like Smurfette does.”
“Smurfette doesn't fuck,” replies Donnie, Jake Gyllenhaal’s character.
“That's bullshit. Smurfette fucks all the other Smurfs.”
This exchange came to mind when watching the actor Jeremy Renner's appearance on Conan this week, during which he called Black Widow, the Avenger played by Scarlett Johansson, “a slut.” He'd already made a joke along these lines a few weeks ago, after which he apologized to anyone who'd been offended. But apparently Renner believed his joke wasn't actually vile—just misunderstood. “Conan, if you slept with four of the six Avengers, no matter how much fun you had, you’d be a slut,” he said. “I’d be a slut.”
If you had to place yourself in a socioeconomic class, where would you land? That’s a tricky and personal question for most Americans. Education, income, and even parental wealth can all factor into class status, but the borders of each group can still be hard to parse. That’s because socioeconomic class structure in the U.S. is a nebulous thing that can be as much about perception and comparison as it is about measurable metrics, like money.
One of the more common methods for identifying the "middle class" is to simply define it as the half of the population making more than the bottom quarter and less than the top quarter. In 2013, such rankings would consider households with income between about $24,000 to $90,000 middle class, based on data from the Survey of Consumer Finances. With a more comprehensive wealth measure—taking into consideration not only income, but total assets and liabilities—this middle 50 percent of Americans covers an enormous range: families who have anywhere between about $9,000 to $317,000. Which is pretty crazy given the vastly different realities of families on either end of those spectrums.
From the poodle cut to the mohawk, a century of follicle fashion
In the aftermath of the Kent State shooting, President Nixon took an impromptu 4 a.m. walk to the Lincoln Memorial. Was he losing his mind?