Pop Culture’s Fascination With Captive Women—Megan Garber on how current works of television and cinema, from comedy to drama, are putting a new spin on a very old trope.
Considering Creativity and Addition in The Life and Times of DJ AM—Sophie Gilbert on how the Showtime documentary about Adam Goldstein argues that its subject’s musical brilliance was separate from his self-destructive tendencies.
The Secret Life of Pets Is Redeemed by Good Dogs—Sophie Gilbert on how the latest feature from the makers of Despicable Me imagines the zany hijinks animals get up to when their humans go out.
The Night Of Reinvents the Murder Mystery, Carefully—Spencer Kornhaber on how HBO’s eight-part drama takes a meticulous and mesmerizing approach to its genre.
A Tale of Two Fireworks Dramas—Spencer Kornhaber on how the national character can be glimpsed even in squabbles over Independence Day authenticity in Washington, D.C. and Boston.
How Garrison Keillor United America—Joshua Rigsby on how the host of A Prairie Home Companion used storytelling to bridge the gap between red and blue states.
Drake’s Crucial Political Awakening—Spencer Kornhaber on how the killing of Alton Sterling led the biggest rapper in the world to break his silence about Black Lives Matter.
The Hurt and Rage of This Week’s Protest Music—Spencer Kornhaber on how Jay Z released a remarkable confession of psychic pain, while lesser-known rappers imagine radical action.
In The Continuous Katherine Mortenhoe, Death Is a Reality Show—Jeff VanderMeer on how the 1974 science-fiction novel by D.G. Compton predicted a future where even the most private moments are broadcast as entertainment.
The Art of Handwriting—Mary Savig on how the personal letters of luminaries like Philip Guston, Dorothea Lange, and Robert Rauschenberg offer insight into their work as much as their lives.
The Subtle Genius of Elena Ferrante’s Bad Book Covers—Emily Harnett on how readers complain about the imagery that adorns the author's highbrow novels, even though there’s value in embracing the oft-scorned "women's fiction" genre.