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Yale's Political Publication Since 1947

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Culture

Antigone Re-envisioned: A Night at the Park Avenue Armory

Isiuwa OmoiguiNovember 11, 2019November 28, 2024

To watch Satoshi Miyagi’s production of Antigone is to watch three plays at once.

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Jia Tolentino’s “Feverish, Electric, Unlivable Hell:” The New Yorker Writer’s First Book Reckons with Self-Delusion and the Internet

Thomas C. MartinOctober 24, 2019November 28, 2024

In her new essay collection “Trick Mirror,” Jia Tolentino paints a bleak picture of our world of scams, mistruths, and self-delusions—all exacerbated by the internet. Is there a way out?

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Superheroes, Comics, and Diversity in Film: An Interview with Dennis Liu, Writer and Director

Isabelle RheeOctober 21, 2019November 28, 2024

“When you have young adults and teens and kids looking up to these heroes, and you don’t have a face for yourself, I think that really influences confidence, self-identity, and a host of other issues.”

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All American Boy Band

Julia WuOctober 20, 2019November 28, 2024

The show feels less like a concert, and more like a confessional.

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Hulu’s Shrill Is a Revolution for Fat Characters on TV—But It Needs More Breathing Room

Thomas C. MartinOctober 12, 2019November 28, 2024

It is difficult to overstate how revolutionary these moments are for a television ecosystem that has long relegated fat women to predetermined categories: gross, hypersexual (or, alternatively, asexual), subordinate, unintelligent, and of course, shrill.

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ZOU: Writing the Political Millennial in Sally Rooney’s Novels

Catherine ZouAugust 19, 2019November 28, 2024

Nothing feels more millennial than the bravado of vulnerability.

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On Toni Morrison

McKinsey CrozierAugust 8, 2019November 28, 2024

“Toni Morrison, without a doubt, served as the greatest Anglophone writer of the twentieth century…[she] wrote as a Black woman, about Black women, for Black women.”

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Review: Stranger Things, Season 3

Thomas C. MartinJuly 16, 2019November 28, 2024

“Like most of us, the creators of Stranger Things seem unable or unwilling to imagine a storyline in which men can realize themselves as emotional beings without attaching that realization to the trauma of women. To be sure, the show’s female characters are resilient—but should they have to be?”

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