A roundup of our recent writing on arts and entertainment
Highlights from 12 months of interviews with writers about their craft and the authors they love
Maren Ade’s nearly three-hour German film might sound like a tough sell—but it’s a remarkably unique work of 21st-century humor.
A new collection of essays and interviews breaks one of the biggest taboos of the literary world.
Highlights from seven days of reading about arts and entertainment
After seeing the AMA responses from TNC today, long-time reader Nicole Pezold Hancock writes: I’m really late…
Entertainment tycoon Philip Anschutz’s politics were never a secret. Why only now is there a billionaire-businessman backlash?
The new Masterpiece period drama, set to debut in America, tells a timely story about an unlikely female ruler.
(Editor’s note: Reader questions are in bold, followed by Ta-Nehisi’s replies.) I’ve been listening to Blood…
Mike Mills’s film is an emotionally smart story about a 15-year-old boy who comes of age with the help of three offbeat women.
(Editor’s note: These questions from Atlantic readers—in bold—and replies from Ta-Nehisi were compiled from an “Ask Me Anything” he did…
The latest episode of the ABC sitcom expresses anger at the election’s outcome. It also insists on empathy.
Ben Affleck’s follow-up to the Oscar-winning Argo struggles to tell a grand story of Prohibition-era crime in Boston and Tampa.
Paolo Sorrentino’s HBO show is a bizarre, surreal examination of absolute power.
The Netflix adaptation of the popular Lemony Snicket children’s book series is a weird, hyper-self-aware, bleak bit of fun.
One of the final stops on the first lady’s farewell tour found her cheering, commiserating, and giving many, many hugs.
The charming new Netflix revival is a scene-by-scene study of how people can lose their tempers without also losing their minds.
Peter Berg’s latest re-creation of real-life events again stars Mark Wahlberg, this time at the center of the 2013 Boston Marathon bombing.
The president’s farewell speech evoked a flawed American icon—perhaps to remind America of the best version of itself.
The contentious—but substantial—interview highlights the ever-vanishing line between entertainment and journalism.
The FX show stars the British actor as a kind of Regency-era Jason Bourne, only with even bloodier methods.
The long-tenured host might be moving to a weekly, or all-digital, format in the coming years—another major shift for an ever-evolving genre.