Books & Culture

How the Tuareg band merges political anguish and musical transcendence.

Jews in the industry called for the Academy Museum to highlight the men who created the movie business. A voice in my head went, Uh-oh.

Four years after the release of his Oscar-winning drama, “Minari,” the director Lee Isaac Chung enters the eye of the summer-movie storm with “Twisters.”

It’s a reunion every night at the “Vanderpump” establishments in Los Angeles.

Tug too hard on a little footsy, and you wind up with a footsy in hand and a baby in tears.

Our editors and critics review notable new fiction, nonfiction, and poetry.

Olivia Laing’s memoir of restoring a garden unearths the politics and history of cultivating a plot.

“The God of the Woods,” “Gretel and the Great War,” “They Called It Peace,” and “The Friday Afternoon Club.”

This rom-com about the marketing of the Apollo space program, starring Scarlett Johansson and Channing Tatum, has an inconsistent tone and a vague point of view.

The actor and director, whose film “Horizon: An American Saga” has been in the making for decades, thinks of the Western as America’s Shakespeare.

The director Pascale Bodet works wonders in “Vas-Tu Renoncer?,” based on the relationship of Édouard Manet and Charles Baudelaire.

The actor talks about the origins of “Adaptation,” his potential leap to television, and the art of “keeping it enigmatic.”

Clover Hill offers the kind of technique-oriented cooking that usually emerges from the city’s billionaire canteens—and prices to match.

Recently reopened under new management, the pricey tourist-bait canteen is more satisfying than it has any right to be.

In a dinner series called the Line Up, line cooks, sous-chefs, and chefs de cuisine from buzzy New York restaurants get to be executive chefs for a night.

If a self-consciously clubby restaurant suddenly becomes easy to get into, what’s the point of going at all?

In his new video for “Not Like Us,” the hip-hop artist claims victory in his long battle with Drake.

The FX series about the fallout from a leaked recording of the Los Angeles Clippers’ owner is extremely entertaining, especially if you are not hoping to learn anything about race.

The Hulu series about a Chicago sandwich joint once felt like the best kind of prestige TV—but the new season, like its Michelin-hungry protagonist, has lost sight of what made it great.

A new HBO documentary series follows King George, the eighty-six-year-old overlord of the Texas Renaissance Festival, and the vicious competition to replace him.

The directors Zhailon Levingston and Bill Rauch cross Andrew Lloyd Webber’s juggernaut musical with queer ballroom culture to electrifying effect.

The British playwright Lucy Kirkwood’s “The Welkin” exorcises the jury-room drama.

Samm-Art Williams’s “Home,” on Broadway, and Shayan Lotfi’s “What Became of Us,” at Atlantic Theatre Company, portray the politics and the emotions of leaving home.

Superb stagecraft illuminates Robert Icke’s “Player Kings,” Benedict Andrews’s “The Cherry Orchard,” and Ian Rickson’s “London Tide.”

The artist discusses her new album, moving upstate, and the wallop and jolt of romantic connection.

“Regional Mexican” music is booming, but one young singer is in no mood to celebrate.

The fourteenth-century composer’s expressions of longing can still leave an audience spellbound.

The artist, who got famous by going viral, discusses refusing to play the TikTok game with her new record, turning to a life of slowness and privacy, and maybe auditioning for a musical.