Jayne Mansfield’s dramatic performance in the John Steinbeck-adapted drama The Wayward Bus disproves the notion that she was only capable of playing a “dumb blonde”.
The characters’ prospects in the upcoming TV adaptation of Naomi Alderman’s The Power are dubious, considering it’s an idea-driven dystopian novel that fries them with an over-abundance of imagery and biblical allusion.
The Crane Husband is a harrowing meditation on perpetual cycles of abuse, the exploitation of women, and a vivid exploration of artistic obsession.
There are seemingly infinite possibilities for how the ability to see into multiple lives might change a person; in Mr. Breakfast, Jonathan Carroll manages to avoid them all.
In Playing Oppression, scholars Mary Flanagan and Mikael Jakobsson lay bare the colonialist origins of board games.
Eyes were the first all-woman 1970s feminist rock band. Don’t believe it? This excerpt from Michael Goldberg’s Addicted to Noise backs the hype.
McKenzie Wark’s understanding of ravespace as a constructed situation in nonlinear ketamine-time comports with my experience raving on weekends as a freshman in college.
Graham Coxon could have made his memoir Verse, Chorus, Monster! a Blur / Britpop tell-all, but he wraps up honest observations in a lovely, conversational tone.
In this excerpt from Andrew Simon’s Media of the Masses, we learn how “lowly” cassette star and shaʿbi music pioneer Ahmad ʿAdawiya would give rise to the “death of taste” in Egyptian music.
How Far the Light Reaches weaves struggles with identity – gender identity, sexuality, ethnicity, and body image – with the immense diversity of marine life, revealing new ways to think about ourselves.
In Women Talking, director Sarah Polley masterfully illustrates how new futures can be possible by reckoning and wrestling with the past and present.
David Duchovny’s novella The Reservoir drifts into the murky depths of the fever dream state of isolation and dislocation.
