newyorker.com / .newyorker-com-culture / Page 8

The author discusses his latest novel, "Minor Black Figures," and the discourse around racial subjectivity.

Bartolo asks something of you, in the way that a good Spanish dining room does.

A new documentary explores how the show turned troubled individuals' actions into a quasi-pornographic exhibit meant for an audience's titillation.

In the nineteen-thirties and forties, my grandfather constantly, carefully photographed himself. What was he trying to see?

The artist discusses touring with Tina Turner, what he learned from Marvin Gaye, and the "most important note" to hit--in music and in life.

"The Life of a Showgirl," the artist's new album, is full of cringey sexual innuendo, millennial perfectionism, and an obsession with her haters that wears thin.

Also: an immersive "Phantom of the Opera" follow-up, the Rock in "The Smashing Machine," Paris Opera Ballet, and more.

In Luca Guadagnino's film, Julia Roberts plays a Yale professor forced to choose sides when a student accuses a colleague of sexual assault.

This year's Revivals section spotlights a hidden classic by a major modern filmmaker whose new movie is equally great.

The British buzz merchant Jamie Lloyd directs Alex Winter and Keanu Reeves in Samuel Beckett's 1954 tragicomedy; plus, "All Right. Good Night.," from Rimini Protokoll.