We Can Never Understand Elizabeth Holmes, or Nathan Fielder
Naomi Fry reviews “You Can See Everything,” a documentary directed by Nathan Fielder and Lance Oppenheim which is a haunting…
Critic’s Notebook
admin The Good-Hang Economy
Dan Brooks writes about the evolution of comedy from sketches to standup to podcasts, as the humor industry has begun…
“The Swan” Gets a Superficial Reckoning
Naomi Fry writes that a new Hulu documentary fails to grapple with the show’s cruelty, or with the early-two-thousands beauty…
Taryn Simon’s Father Figures
In a new show at the Guggenheim, the artist grapples with patriotism and patriarchy through the long career of an…
The Thomas and Kavanaugh Hearings Restaged as a Theatre of Fact
Doreen St. Félix on Lee Sunday Evans and Elizabeth Marvel’s play “The Ford/Hill Project” directed by Evans and starring Marvel,…
What the Met’s John Galliano Reversal Reveals
Tyler Foggatt on the British fashion designer John Galliano, whose planned Met exhibition, set to open with the 2027 Met…
The Art of Getting Lost in Minnie Evans
There comes a moment, looking at the artist’s dense worlds, in a new exhibit at the Whitney, when the eye…
Going Through the Motions with Khloé Kardashian’s “The Girls”
Naomi Fry on Khloe Kardashian’s new Hulu reality-TV show “The Girls.”
What Natalie Harp Carries
Doreen St. Félix writes that Natalie Harp, Trump’s devoted aide, does not seem to be driven by the conventional desires…
The Wealth and Glam of “The Hamptons” Looks Almost Quaint
Naomi Fry on Barbara Kopple’s documentary “The Hamptons,” now streaming on Le Cinéma Club, which follows a generation of starlets,…