Singer UMI — Tierra Umi Wilson — released her debut EP, Love Language, in time for the cuffing season when freakish temperatures slump our attention toward pumpkin spice lattes, comfy cozy sweaters, and finding a bae with whom to cuddle up. ...
This essay was originally published at The Muse on Jezebel on November 6, 2019. Republished with permission.
Global income inequality has been on a steady r...
This essay was originally published in NYLON on October 18, 2019
At first glance, it’s hard to imagine how a film about a young boy in the Nazi Youth could ...
To talk about the smile we have to start at the beginning. At the top of the episode, we find Logan Roy (Brian Cox) en route to Venice to shore up yet another ...
Sex work is work.
It’s an idea that needs reinforcing in the wake of Sarah Jones’ recent performance of her one-woman show -- Sell/Buy/Date--. Directed by Carolyn Cantor, the play was performed at USC’s Bing Theater on October 26. ...
“press space to honk”
This is the first control you learn
in developer House House’s 2019 release, “Untitled Goose Game.” It’s the most
important contr...
Cherríe Moraga’s "Native Country of the Heart" is a mother-daughter story and the story of a time and a place. Most trenchantly, though, it’s a rumination on memory....
Positioned high over the La Brea Avenue stoplight, a billboard advertising Hulu’s dramedy Shrill, featuring the SNL’s endlessly lovable Aidy Bryant, stops traffic cold.
In her magenta bathing suit, knocking knees together, Bryant is a sick-thoughted modern take on Botticelli’s The Birth of Venus.
But if her character, Annie, is Shrill’s Venus and goddess of love and beauty, then who is the show’s Adonis, her doomed mortal lover?
It turns out he is Ryan.
And
Ryan sucks.
Immature, inconsiderate and incompetent, Ryan is the kind of guy who sends our heroine one-word texts reading “Fuck?” and expects her to leave through the back door when they’re finished so as to not annoy his roommates.
He’s a bona fide schlub, the definition of the emotionally stunted bare minimum with no discernible ambitions, and yet Annie keeps going back as he dangles commitment over her head. ...
As a send-up of the postmodern discourse about art, The Plagiarists is hilariously successful. But as a work of art in itself, it feels uninviting and closed off, insulated by its own convictions....
