It is almost as if Don DeLillo’s “The Body Artist” was always meant to be adapted for the stage, as if some invisible force was, for years, guiding director-writer Jody McAuliffe, and Rachel Jett — who plays Lauren Hartke, the body artist — and all their collaborators towards this project.
It’s 1:45 a.m. and after four months of reading, I’ve just finished “The Amazing Adventures of Kavalier & Clay.”
A few days ago, there was a headline on Vox: “How tribalism overrules progressive tenets like ‘believing women.’”
With his Netflix series “Easy,” currently in its second season, director Joe Swanberg does some growing up.
Walter Benjamin, the famed literary and cultural critic, once called “The Arcades Project” — his seminal, fragmentary study of 19th-century Paris — “the theatre of all my struggles and all my ideas.”
“The Good Doctor” is the kind of show people like to call a “guilty pleasure” — a term I object to. It’s broad, predictable and epically sentimental, schmaltzy even.
To those who call Columbus, Ind. home, the sight of tourists clustered in packs, mulling around the streets, is not uncommon.
A 20-something writer from Sacramento lands in New York after winning a college essay contest.
In the street, costumed children go door to door asking for candy. Their parents linger behind and watch.
Upon entering the main gallery of the John Hope Franklin Center, I found myself feeling slightly overwhelmed.
