Dysphoria Matters: On the Broken Promise of “Sex Education”
Slava Greenberg looks at the legacy of Netflix’s series “Sex Education” in light of its finale
Slava Greenberg looks at the legacy of Netflix’s series “Sex Education” in light of its finale
If you're gonna build a career on proximity to coolness, maybe start by ascertaining whether you are—in fact—cool?
Katherine Turk reviews Jenni Nuttall’s “Mother Tongue: The Surprising History of Women’s Words.”
Banu Subramaniam gets whiplash when she reads Richard O. Prum’s “Performance All the Way Down: Genes, Development, and Sexual Difference.” For a book engaging with queer theory, it is decidedly unqueer, she writes.
Jack Skelley stumbles right up to the razor’s edge of Los Angeles’s alt-lit scene, and perhaps tumbles into the ether.
Kevin Koczwara chats with Sammy Harkham about his grindhouse-inspired new graphic novel “Blood of the Virgin,” the burdens of balancing family life with art, and making meaning through storytelling while remaining unpredictable.
Kevin Koczwara reviews Steven Millhauser’s new collection of stories, “Disruptions.”
Tom Zoellner talks to Lydia Otero about her new account of a young adulthood in Los Angeles, “L.A. Interchanges: A Brown & Queer Archival Memoir”
Melissa Chan writes about the performance of Wagner operas in China.
John Reeves considers Julian Jackson’s “France on Trial: The Case of Marshal Pétain.”
Azeta Hatef reviews the Hulu reality show “Secrets & Sisterhood:The Sozahdahs."
Cal Revely-Calder finds much to appreciate, and more to decry, in Omar Kholeif’s “Internet_Art: From the Birth of the Web to the Rise of NFTs.”
Brian Frank speaks with Lexi Kent-Monning about her new novel “The Burden of Joy.”
Eric Newman and Medaya Ocher are joined by writer and professor, Dan Sinykin, to talk about his new book “Big Fiction: How Conglomeration Changed the Publishing Industry.”
Alex Langstaff calls “Balkan Cyberia: Cold War Computing, Bulgarian Modernization, and the Information Age Behind the Iron Curtain” a must-read for anyone interested in how the Iron Curtain was circumvented in the digital age.
Rowland Bagnall reviews James Tate’s “Hell, I Love Everybody.”