Richard Brody: A Tale of Two Cinematic Universes
Ashwin Rodrigues: Bluesky Can’t Take a Joke
George Monaghan: The Man Without a Past
Sheluyang Peng: The Ghostwriter
John Pistelli: The Invisible College of the Future
Mary Harris: Can Jonathan Majors Come Back?
Chris Heath: Robert Caro’s Abandoned Novel
Paul de Quenoy: The Met’s “Big Bet” on Contemporary Opera Is a Loser
Antonio De Loera-Brust: Why National Parks Matter
Costica Bradatan: Doing Nothing Is Everything
Edna Bonhomme: Zora Neale Hurston’s Lost Epic
Spencer Neale: The Grace of Wayne Gretzky
Rob Mahoney: Catharsis and Contradiction in Luka’s Return to Dallas
Nancy Rommelmann: Paying a Heavy Cost for Going After a Tax Cheat
Oren Cass: Trade Deals in the Time of Tariffs
Anna Wiener: Can A.I. Writing Be More Than a Gimmick?
Olivia Ovenden: Aimee Lou Wood Checks Out of The White Lotus
Peter Savodnik: Meet Usha Vance: MAGA’s Enigmatic Second Lady
Emma Heath: Up Close With the Beauty of Gatsby
Greta Rainbow: Run, Algo, Run
Jordan Castro: Living in Gatsby’s World
Sarah Chihaya: Sigrid Nunez on and off the Big Screen
Leila Herrmann: Why I Won’t Quit BookTok
Sarah McEachern: Reservation Politics
July 11, 2022The question of whether a valuable artwork is genuine can be surprisingly fluid, changing over time based on evolving and sometime competing evaluations. In 1973, for example, the...
