Deborah Krieger is a student in Brown University's Public Humanities Master's Program. She graduated from Swarthmore College in 2016 with a degree in Art History, German Studies, and Film and Media Studies. She has been writing about art and culture on her site www.i-on-the-arts.com since 2010, and has been freelancing for other sites since 2013, including the Los Angeles Review of Books, BUST, Paste Magazine, Hyperallergic, Whitehot Magazine, and more. She was the curatorial assistant at the Delaware Art Museum from 2017-2019. From September 2016 to July 2017 she was on a Fulbright scholarship in Vienna, Austria, where she researched contemporary Jewish and Roma artists in the city and taught English to high school students. She is on RottenTomatoes and Book Marks as an individual critic.
On Lover, Taylor Swift looks back on her youth as both mood and metaphor, marking a significant shift from the storytelling in Red, 1989, and Reputation.
The Psychology of Time Travel balances thrilling mystery, complex characterization, and emotional depth, and is a strong debut for Kate Mascarenhas.
The Saw Doctors are the first band I remember seeing live that wasn't a David Bowie cover artist. On Live in Galway, the band bring their A-game, showing why they're the most beloved and enduring Irish rock outfit not led by Bono.
Dream Theater's Distance Over Time is at its strongest when it feels improvised and energetic—not overly-planned, but rather like the gang holed up in a studio and decided to lay down some tracks.
If Pratchett and Gaiman's Good Omens is an artifact of '90s apocalypse hullabaloo notable for its wry wit, petty divine figures, and surrealistic flourishes, then The World Is a Narrow Bridge plays a similar role in our angst-ridden, oversaturated media landscape/world of 2016 and beyond.
Travel journalist Stuart Turton borrows and remixes the best of the genre in his fiction debut, The 7 1/2 Deaths of Evelyn Hardcastle.
Jenny Hval is writing for the senses, conjuring with almost nauseating accuracy sensations both mundane and extraordinary.
The Oracle Year is less concerned with exploring the ethics of having power and more with using it as a catalyst for an entertaining story.
I wanted to find some catharsis in a movie about a woman who has sacrificed everything for her husband because the world would never otherwise see her value.
It's a testament to Zevin's understanding of multiple age groups that she's able to capture a variety of women at various life stages. Her portrayals feel honest and true.
He finds people who find his writing offensive interesting. He feels the pressures of a right-wing and left-wing audience equally. And the lines for book signings go on, and on. As do delightful interviews with this irrepressible man, such as this one.
Calypso uses a wandering style of storytelling to conjure a sense of Sedaris traveling through his own thoughts, getting lost on particular charming tangents before coming back to what he ultimately wants you to take away.
With the release of the Marvel Cinematic Universe's defining moment that was Avengers: Infinity War, our staff assembles a ranking of the story so far.
'The City of Lost Fortunes' and How Writing Goes from the "Goo in a Cocoon" Stage to a Fully-Realized Tale
Bryan Camp read academic works, self-published occult-y stuff, and primary sources to help craft his beautifully-realized tale of a New Orleans in which "the fantastical is possible."
From "contact highs" to Be Kind, Rewind, Laurie Simmons discusses the inspirations for and making of her debut narrative feature film, My Art.
The father and son relationship, the wonky, beating heart of The Château, feels so well-worn and lived-in that its volatile pushes-and-pulls contain some genuinely touching moments.
This debut novel by sisters Lynne and Valerie Constantine fits well within the mold of Gone Girl-esque thriller.