Books & Culture

The Chattanooga rapper was anointed by Kendrick Lamar at the age of twenty-two. Then his life got more complicated.

The filmmaker Curry Barker got his start online as a teen-age sketch comedian. Now he’s making his name as Hollywood’s next great horror auteur.

As a teacher, she would talk about literature with other people’s children. Finally I got the same chance.

The low-cost carrier was a mess. But it was also an icon of budget travel, facilitating a kind of modest freedom for the masses.

The director—whose newest film, “The Wizard of the Kremlin,” examines the ascent of Vladimir Putin—discusses a few of the books that have helped to shape his ideals.

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

Maureen Footer’s new biography, “Feel the Floor,” shows how a little-known Black choreographer taught white stars all the latest moves.

The novelist—whose new book, “John of John,” is out now—shares a few of his favorite works of historical fiction that center on queer characters.

Olivier Assayas’s adaptation of a novel about a fictionalized adviser to Vladimir Putin reduces politics to personalities and atrocities to anecdotes.

The new film, starring Hugh Jackman and Emma Thompson, is based on a near-perfect “sheep crime novel”—but the adaptation shows disappointingly little interest in the animal mind.

In Ildikó Enyedi’s meditative nature epic, three lonely experimenters from three different eras seek to unlock the secrets of plants—and learn something vital about themselves.

In the Argentinean filmmaker’s new documentary, “Our Land,” and a recently restored masterpiece, “The Headless Woman,” an elusiveness of form becomes the most direct way to the truth.

One evening a week, at Eunji Lee’s tiny Manhattan pâtisserie, Lysée, sweets are appetizer, entrée, and everything else.

The slim, tortilla-forward northern-Mexican burrito is getting its due, at spots including Vato, in Park Slope, and Los Burritos Juarez, in Fort Greene.

The beloved L.A. café was brought low by a bucket of moldy jam. Now it’s open for dinner.

A New Yorker food critic responds to a reader’s baking woes.

Richard Gadd’s follow-up to “Baby Reindeer” traces a decades-long quasi-familial relationship that’s thornier than any other male bond on TV.

The show exists in a strange world where men repeatedly confess their love for each other. Does it make them better people?

With Season 3, the HBO drama feels like it’s clicked into its final, hardened form: a thrilling, disturbing horror show, delivered with a sneer and a smile.

Dan Levy’s first scripted series since “Schitt’s Creek” is another fish-out-of-water comedy—this one set in a very different milieu.

Camp has become the go-to aesthetic for Broadway musicals. These two new shows dare to be sincere.

Gina Gionfriddo’s zinger-filled sex farce and the celebratory ballroom-culture adaptation of Andrew Lloyd Webber’s confounding musical are cathartic catnip.

Sidney Lumet’s kinetic, emotionally complex film has been transformed into a hokey sitcom with gunshots.

Clare Barron’s “You Got Older” is a rare play about a good dad. Wallace Shawn’s “What We Did Before Our Moth Days” is defiantly tender about an amoral one.

The polymath musician, formerly of Vampire Weekend, likes to push our idea of what a pop song can be.

One of the originators of the genre now haunts it.

Newly released archival live performances by Ahmad Jamal, Joe Henderson, and Cecil Taylor illuminate their legacies and the art form at large.

The chart-topping hits you hear in movies can stretch the limits of belief. On the “Mother Mary” soundtrack, Charli XCX and Jack Antonoff capture the real thing.