Walking into the last Blockbuster in Bend, Oregon is stepping into an aura of cinematic nostalgia. It may be a preview of the movie industry post-shutdowns.
Netflix’s ‘The Prom’ raises small-town homophobia to such an extreme it undermines its own message of tolerance and inclusivity.
‘Cats’ was so bad that the only reasoning I can come up with for its badness is that it was a plot by dogs to make cats as unappealing as cosmically possible.
If you feel the desire to be thoroughly depressed and bored for 90 minutes, check out Mary Louise Parker in ‘The Sound Inside’ on Broadway.
David Mamet’s classic play ‘American Buffalo’ is coming back to Broadway, and progressive theater cats are none too pleased.
With the economical yet incendiary dialogue, and little action throughout the Harold Pinter play’s 90-minute runtime, the onus for keeping the play interesting lies predominantly on the actors.
Jon Stewart’s sassy segment mocking Lin-Manuel Miranda in 2009 did not age well.
Ambitious in its production scale and subject matter, ‘Amazing Grace: The Broadway Musical’ plays this summer at an unlikely venue in the nation’s capital.
Written by Anaïs Mitchell, directed by Rachel Chavkin, the story follows the twisted love stories of both Orpheus and Eurydice and Hades and Persephone.
The racially entangled hoaxes involving Jussie Smollett, and Atticus Finch, show our cultural zeitgeist is choosing tribalism before tolerance.
‘Les Mis’ shows us a world resembling our own: a society filled with wealth, but rife with injustice. The play offers us hope for change in the form of two young revolutionaries.
What’s so remarkable about De Niro, Maher, and Bee is that they seemed to have learned absolutely nothing from the 2016 election.
An Alanis Morissette jukebox musical shows how mainstream culture is openly embracing the idea of a didactic or propagandistic role for art.
There is a red-pill way to view ‘Wicked,’ and once you start viewing it this way, you can’t un-see it.
On September 3, the cast of ‘Natasha, Pierre and The Great Comet of 1812’ will perform its last show. The story of its demise is of a single-minded drive for diversity destroying art and opportunity.
‘Fences’ is about so much more than merely race relations, for which the critical community mistakenly applauds it to this day.
The cinematic remake of August Wilson’s Pulitzer-winning play is not to be missed.
Israeli Prime Minister Benjamin Netanyahu learns at ‘Hamilton’ that you have no control over who tells your story. And exaggerates it.
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