How Olympic gymnastics beat score inflation and became a sport.

‘Bad Moms’ isn’t about motherhood, the experience—it’s about motherhood, the social clique.

With too many characters, and little to justify their existence, the DC Universe is an ever-expanding world of senseless, plotless mayhem.

In 'The Last Days of New Paris' avant-garde artists fight the Nazis.

For more than thirty years, Ozick has led the way in affirming the role and responsibility of the critic.

Slave narratives have always been popular—and predictable. Can a new generation rewrite the rules?

Roy Scranton's 'War Porn' bucks the trends of recent fiction about soldiers.

In ‘Pond,’ Claire-Louise Bennett stomps all over writing-dude-in-nature territory with her poetic unraveling of Thoreau’s wilderness jaunt.

To understand global inequality, you have to understand Brazil's inequality.

Paul Greengrass and Matt Damon had a dynamic, mysterious hero in Jason Bourne, but returning to him after ten years proves a tiresome exercise.

Recent productions have revitalized 20th-century classics of American theater. Have they also clouded our sense of history?

From sloth to burnout, each age remakes exhaustion in its own image.

The show relies on an implausible plot and a primal fear of women.

The latest installment in the sci-fi franchise boasts a little bit of everything.

Penny Lane's new documentary traces the life of quack doctor John Romulus Brinkley.

Why the hacker show fumbles in its attempts at social critique.