Dark, quiet, and far too intent on eroticizing stalking, the newest rendition of The Batman left me wondering how the titular character is considered a hero at all. Even more disappointing is the writing of Zoe Kravitz as a neutered, domesticated version of the traditionally extreme Catwoman.
Philip Glass’s music is often described as repetitive, so I was surprised to read that it’s the one description the composer refutes in his voluminous memoir. Glass considers himself an opera composer more than anything else and the book might be a good reference for music nerds (he lost me at hidden fifths), but for mere mortals, the bits about New York City are probably the most interesting parts of his life story.
Not too frightening, not too dark, and not too violent, episode one of Moon Knight is a tonal Goldilocks. Between Steven Grant’s endearing mild-manneredness and Marc Spector’s unwavering confidence, Oscar Isaac’s character(s) strike the perfect duality.
An anonymous narrator writes a book length letter to his mother. He wants to say “thank you,” he wants to ask, “why (on the I-95 in Virginia) do people hang taxidermy in the bathroom,” and he wants to know why people die. On Earth We’re Briefly Gorgeous is full of questions, as the narrator navigates growing up, love, sexuality, and diaspora. Ocean Vuong writes a story of multiplicity here that can’t be summarized or neatly explained. Instead, Vuong falls into language and creates a world.
Singing pop tracks from her newest EP, One Foot in Front of The Other, the young English pop star Griff bopped around Bowery Ballroom’s stage in an oversized white blouse and a maxi skirt—still too new to the game to be wearing head to toe spandex. Her voice sounded just as it does recorded, if not better, and for the first time since the beginning of the pandemic, I was in a room filled with dancing strangers.
I started watching Blair Fowler (JuicyStar07) and Ingrid Nilsen (MissGlamorazzi) on YouTube before I had ever worn makeup. Since then, the video sharing platform has become my main form of entertainment, surpassing any streaming service or other social media. I’ve watched creators leave the platform, and new ones blow up in months. I don’t know what this means for me or what it says about my personality, but what I do know is that the link to my subscription has been bookmarked on my browser for a long time.
The Chinese Lady at The Public Theater is witty, biting, and heartbreaking. If Afong Moy could speak, she’d ask us why contempt trumps compassion even today.
Love Catcher is a South Korean dating show that recognizes love as a laborious, all-consuming physiological mind game. Each episode leaves me refreshed, breathless, and terrified to give my feelings over to anyone ever again.
Parallel Mothers is part soap opera, part history lesson. If it doesn’t make you want to move to Madrid and own a nice place with a smoking terrace and also have an inherited Spanish countryside home, I don’t know what will. I wasn’t a fan of the English title, but everything sounds better in Spanish anyway.
This is some text The love angle in Free Guy was nauseating. The pop culture references and battle against a diabolically business-minded Taika Waititi: chef’s kiss. of a div block.
I put on Rosalía’s Motomami and was met with: “Chica, ¿qué dices?” Didn’t understand a word. Have had it on repeat ever since. Either Rosalía has created a sound, rhythm, and beat that can be understood past language, or I’m officially awakening my inner salsa dancer.