Christiane Amanpour

[ad_1] The great thing about holiday perennials is that they sometimes take a break, and then return so that those of us who never saw them in the first place can get a chance to enjoy them. (Yes, I’m pretty sure that’s not actually how perennials work. I’m a theater geek, not a botanist, so

[ad_1] It’s not a comforting show for closing out the year, but Blank Theatre Company’s revival of Tony Kushner’s A Bright Room Called Day is an important one as we head into the bleak times ahead. Kushner’s look at the fall of the Weimar Republic through a group of bohemian and leftist friends in Berlin

[ad_1] Tell seasoned cinephiles that a newly emerged director has dared to shoot his first big studio movie from the first-person perspective, and you’ll catch deep skepticism. Like the second-person perspective in written fiction, it typically isn’t attempted, and for good reason; most efforts fail, written off rightly as loud novelty. But it’s possible to

[ad_1] The Fire Inside tells the story of real-life boxing legend Claressa “T-Rex” Shields, who became the first woman to win an Olympic gold medal in boxing. Written by Barry Jenkins (2016’s Moonlight) and directed by Rachel Morrison (cinematographer on 2017’s Mudbound and 2018’s Black Panther), the story follows Shields (Ryan Destiny) and coach Jason

[ad_1] The IP-ification of the Lord of the Rings may have reached its apex with The Lord of the Rings: The War of the Rohirrim. Sure, the Lord of the Rings is a beloved series that’s had its fair share of adaptations over the last half-century, but it’s only in the last decade that Hollywood

[ad_1] As someone who used to work service industry jobs, there’s a looming dread about working around the holidays—high stress, large crowds, and a desire just to get out of there as quickly as possible without any issues. Carry-On takes this familiarly uncomfortable feeling and ramps it up tenfold, setting it at one of the

[ad_1] You won’t find many kids a long time ago in a galaxy far, far away. At least, not any that aren’t being slaughtered by Anakin Skywalker, retrieved for a bounty, or forced to podrace to escape child slavery. But Star Wars fans young and old have a new hope in Skeleton Crew, a weekly

[ad_1] The Netflix dark comedy series No Good Deed may revolve around an impossibly gorgeous upper-echelon Los Angeles home, but it’s fueled by the cheapest brand of sentimentality—the kind that puts on the respectable outward face of diversity, inclusion, and various twists of the true-crime genre, only to reveal its shallow nature by the climax.