From Les Moonves to Louis C.K. to so many others implicated in #MeToo, there have been many performances of accountability theater. But those in power have repeatedly proven themselves unwilling to make amends.
Infestation. Insects. Ointment. This is not the stuff you might expect from a work of prestige TV that takes extreme wealth as its subject.
The allegations that the actor exploited women students echo a broader assumption: that discomfort in a professional setting is a liability.
Chanel Miller’s memoir, like the show Unbelievable, is a reminder of the painful alchemy that turns trauma into art.
Twenty years ago, the fictional press secretary was the heart of Aaron Sorkin’s political drama—and the embodiment of a time when news sold the myth of an ordered world.
Far beyond the news it breaks, The Education of Brett Kavanaugh is a grim reminder: Many Americans still doubt the seriousness of sexual-misconduct allegations.
Twenty-five years ago, Friends anticipated a time that would both romanticize and mistrust the culture of work.
She Said, the behind-the-scenes telling of one of #MeToo’s most consequential journalistic stories, treats villainy as a systemic proposition.
One more shameful truth Jeffrey Epstein symbolized: a culture that continues to write girls out of its stories
Of all the questions that hover around the sex offender’s death, the most urgent is this: What shape will accountability now take for his accusers?
Anger is the ethic of the moment. Campaign-trail language is reflecting that.
In discussing the El Paso and Dayton massacres, the president and his fellow politicians are taking refuge in the convenience of abstraction.
During the debate it hosted on Tuesday night, the news network made its best effort to convert discussions of policy into the thing it knows best: punditry.
The classic rom-com invented the “high-maintenance” woman. Thirty years later, its reductive diagnosis lives on.
The show once known for its subtle depictions of trauma is now taking refuge in melodrama.
In his new stand-up special, the comedian celebrates progress—but denigrates the work that progress requires.
One of the many gutting elements of the allegations against the billionaire financier: how gleefully he flaunted his impunity.
What Do We Need Men For? is overwhelming. It is exhausting. That is the point.
The president, in attempting to downplay E. Jean Carroll’s rape allegation against him, isn’t talking about attraction. He’s talking about protection.
The famous writer’s rape accusation against the president fell victim to the familiar workings of attention fatigue.
In the second episode of the show’s new season, Jane does the thing she has been desperately reluctant to do.