Emily Nussbaum

Gertrude Berg’s “The Goldbergs” was a bold, beloved portrait of a Jewish family. Then the blacklist obliterated her legacy.

From the daily newsletter: getting to know the director Marielle Heller. Plus: a timely triennial of Latino art; Donald Trump’s U.F.C. victory party; and can A.I. improve our conversations?

With “Nightbitch”—in which Amy Adams turns into a dog—the director portrays parenting as a visceral transformation.

The rules governing everything from “Big Brother” to “The Real Housewives” started three decades ago, with a radical experiment on MTV.

Reality-TV contestants are barely paid, and the experience can feel like abuse. Former cast members of Netflix’s megahit are speaking out—and calling for solidarity.

Tennessee’s government has turned hard red, but a new set of outlaw songwriters is challenging Music City’s conservative ways—and ruling bro-country sound.

After making “The Good Wife,” Robert and Michelle King went rogue, creating wildly experimental series that capture the vertigo of post-Trump America.

For years, the elusive singer-songwriter has been working, at home, on an album with a strikingly raw and percussive sound. But is she prepared to release it into the world?

An indie comedy about a misfit looking for love, and a clear-eyed examination of a small town full of dangerously bored kids take new spins on established genres.

Here are more than ten shows that I happened to like and remember on the day that I wrote this list.

Damon Lindelof’s update to Alan Moore’s graphic novel is a bombshell, reordering the fictional universe and writing buried racial trauma back into comic-book mythology.

The Democrats keep on reciting facts, but is it wrong to fantasize that the way out is narrative?

Jennifer Aniston and Steve Carell’s depiction of a #MeToo crisis is a pricey, glum misfire, while Emily Dickinson’s makeover is a sweet and original surprise.

In the era of cable and streaming, there’s still life in old-school formats.

Before Volodymyr Zelensky was elected President, he played the part in “Servant of the People,” a genre-bending series that blends Ryan Murphy wackiness with Sorkinian uplift (minus the hubris).

The galvanic new series, set in Israel, emphasizes how easily dehumanizing rhetoric can sway vulnerable minds, a theme that should feel uncomfortably relevant to American viewers.