The viral responses to the company’s new campaign featuring Colin Kaepernick reinforce the stakes of his protests—and misunderstand what motivated the brand in the first place.
The OWN series, which follows the leading family of a Memphis mega-church, cleverly dramatizes the gap between its characters’ sanctified public personas and their private misdeeds.
With a surprise performance Sunday evening, the comic joins a cadre of men who have begun reentering the public eye after misconduct accusations.
Twenty years after the release of The Miseducation of Lauryn Hill, the artist has been granted something rarely afforded to women: the space to make mistakes—and still be considered great.
Twenty-five years after its premiere, the cast and crew of Yvette Lee Bowser’s iconic ensemble sitcom talk about the show’s classic characters, memorable looks, and impact on how Hollywood tells black stories.
The actress, who accused Harvey Weinstein of rape, reportedly settled claims with her own accuser. Her response to the allegations drew from a familiar playbook.
To All the Boys I’ve Loved Before, the new Netflix adaptation of Jenny Han’s 2014 novel, brings a sweet, teen-focused approach to one of the most beloved hallmarks of the romantic comedy.
“(You Make Me Feel Like) A Natural Woman” best captures the effect the Queen of Soul had on audiences worldwide.
In recent works including Insecure, Sorry to Bother You, and BlacKkKlansman, sounding “real” is a tricky equation.
After years of dire political dispatches from back home, Ethiopian immigrants greeted the nation’s new reformist prime minister with displays of hope and unity as he traveled across the U.S.
The Jamaican singer talks about his new album, Forever, dedicating his work to women, and collaborating with artists across the African diaspora.
Two Atlantic staffers discuss the writer Alexia Arthurs’s bright, complex debut collection of short stories and the larger tradition of immigrant literature from which it draws.
In the R&B singer’s new song, the 19-minute confessional “I Admit,” he devotes ample time to describing his own demons but precious little energy atoning for the harm he has wrought.
The Hamilton actor and the Def Poetry alum, who co-wrote and star in a new film about two friends in Oakland, talk about hip hop, social injustice, and what it takes to heal collective wounds.
Three Atlantic staffers discuss tricky questions of national—and international—allegiance in sports, after the victory for Les Bleus, which some called “the last African team.”
The FX drama Pose is the rare example of a show that actually gives trans actors top billing—an effort made all the more urgent by a recent controversy that saw Scarlett Johansson cast as a transgender man.
In Boots Riley’s directorial debut, Armie Hammer portrays Steve Lift, the quirky, megalomaniacal CEO of a company that takes exploitation to a ghastly extreme.
The long-awaited sequel to the rapper’s 2015 project with the superproducer Zaytoven finds the duo mining familiar territory—self-loathing, wealth, drug use—to nearly ecstatic effect.
Who better to analyze the beleaguered rapper’s 25-track double album?
The energy the singer brings to his collaborations is the same he carries into his own work: studied, versatile, contagious.