On Tyranny: Twenty Lessons from the Twentieth Century, by Yale history professor Timothy Snyder, is about the rise of totalitarianism and what ordinary people can do to stand in its way. I bought five copies to give to young activists. Maybe I should have bought more.
The networks lined up to deliver numerous retrospective documentaries on the silver anniversary of the events that began just hours after the Rodney King beating verdict was read. The results are decidedly mixed.
Playwright John Strand’s presentation of Antonin Scalia as not the “monster” his critics make him out to be may hold some truth, but it’s surely an incomplete one.
Lionel Rolfe steps gingerly into the Musso & Frank Grill, his bespectacled gaze searching the landmark Hollywood eatery – but not for former regulars like Charles Bukowski, Gore Vidal or Rolfe’s friend, Life magazine photographer Phil Stern. They’ve left this room forever.
Writer/director Tim Robbins’ Harlequino: On to Freedom at the Actors’ Gang is a messy, boisterous show whose message about personal freedom and self-determination comes through simply and clearly.
Building the Wall, billed as an urgent call to action, aims to alert people to the ominous stirrings of fascism in the United States. But its heavy-handed polemics and a flawed production run counter to its purpose.
I Am Not Your Negro is a cinematic poem. A jarring juxtaposition of writing and found footage, it is both an elegant and elegiac tribute to a man whose ideas are as relevant today as they were when he was alive.
A new political drama from Pulitzer Prize-winning playwright Robert Schenkkan imagines a not-too-distant future where Trump’s anti-immigration policies have upended the lives of millions.
New York City photographer Chris Washington has set aside his weekend for a trip to the country, where he must endure an ancient custom: meeting a girlfriend’s parents for the first time.
Dustin Lance Black’s When We Rise presents a unique opportunity to not only entertain, but to also enlighten people. Which makes its failings that much more disappointing.
Somewhere in the middle of Bryonn Bain’s soulful one-of-a-kind show, the playwright/poet/performer recounts an interview between himself and a public defender.
Gay historian, activist and kindhearted bohemian bon vivant, Stuart Timmons passed away peacefully on a recent Saturday morning, not long after recovering from a bout with pneumonia.
The Merriam-Webster dictionary defines fellowship in various ways: as companionship, as a community of interest or experience, as a company of equals or friends, among others. These definitions serve as prologue to Julie Marie Myatt’s immersive stage play, fellowship
Ed Simpson’s play, Periphery, opened in L.A. in honor of Black History Month – but also on the same day that massive crowds of protesters flooded the streets in cities across the nation against the newly inaugurated President Trump.
If you’re interested in cultivating mindfulness, equanimity and loving-kindness, see Jim Jarmusch’s new film, Paterson. The movie is about a bus driver in Paterson, New Jersey.
“I’m not just an autistic kid anymore, I have climbed a freaking mountain,” wrote Colin Eldred-Cohen on the release of his children’s book, The Fire Truck Who Got Lost. Eldred-Cohen is a young author with Asperger’s syndrome. His first children’s work became a reality through a crowdfunding campaign.
For those who missed the Los Angeles County Museum of Art’s Noah Purifoy: Junk Dada exhibit, you can still experience his extraordinary art born of the Watts riots at the Noah Purifoy Outdoor Desert Art Museum, in the town of Joshua Tree.
On the list of society’s most reviled professions, somewhere between tax collector and a member of Congress, sits the lobbyist.
In a culture broadsided by unremitting police violence and a election that could arguably be called a national nervous breakdown, Barry Jenkins’ profoundly moving film came as neither a shout nor a whisper, but as an eloquent statement that indeed, black lives matter.
On his recently released final collection of new music, Cohen blamed God for His benighted creatures’ refusal of light: “You want it darker — we put out the flame.” Like, we’re only following orders, Boss. But in another song, Cohen shifted perspective: “Only one of us was real — and that was me.”