Young Jean Lee’s take on white masculinity.
“Straight White Men” (a Second Stage production, at the Helen Hayes) is such a great title for a show that it momentarily blinds you to the fact that there’s no real script to support it. It’s diffiult to comment on the literary merit of the forty-four-year-old playwright Young Jean Lee’s first foray on Broadway—she’s also the first Asian-American woman to have a piece produced on the Great White Way—because she hasn’t so much written a play as handed over, to the director, Anna D. Shapiro, and the four fine cis male actors, notes in the shape of a play. That those notes are flat and boring, with no organic force or comedic interest whatsoever, is only part of the problem. What one walks away with after this nearly two-hour, intermissionless number is a strong sense that the production is rigged—rigged to make audience members feel hep, because, in the end, they get to give a thumbs-down to some straight white men in a political climate that is increasingly critical of all three of those designations.
هذه القصة مأخوذة من طبعة August 6 - 13, 2018 من The New Yorker.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك ? تسجيل الدخول
هذه القصة مأخوذة من طبعة August 6 - 13, 2018 من The New Yorker.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
The Ascent - Can Kamala Harris defy her doubters—and end the Trump era?
When Joe Biden called Kamala Harris on the morning of Sunday, July 21st, she was in the kitchen at the Vice-President's residence, a turreted mansion on a hill in Northwest Washington. Harris was wearing sweatpants and a hoodie from her alma mater, Howard University. Her husband, Doug Emhoff, was in Los Angeles, but the house was bustling with relatives. She had just finished making bacon and pancakes for two grandnieces before sitting down with them to work on a jigsaw puzzle.
TWERKERS' COMP
Earlier this year, the Cannes Film Festival observed a heroic first: the director who won the Palme d'Or, the event's highest honor, dedicated the prize to \"all sex workers, past, present, and future.\"
AMERICAN ATTITUDE
The docuseries Mr. McMahon” explores the underbelly of the WWE.
ORIGIN STORY
Ta-Nehisi Coates and the temptations of narrative.
THE IMPRESARIO
Alvin Ailey’ crusade to build a home for himself and other Black dancers.
MY CAMP
Human nature, yes. Nature nature, no. I know nothing about it.
PRISON DIARIES
The Russian opposition leader’ account of his last years and his admonition to his country and the world.
PECKING ORDER
Language is said to make us human. What if birds talk, too?
COWBOY-DANCE FUTURE WORLD
It t is the year 2248. We live in what some would call a perfect world.
The K-Pop King - Chairman Bang is bringing his formula for creating idols to the U.S.
Scooter Braun was in a tailspin. It was February, 2021, and the music manager, who had made his name launching the careers of Justin Bieber and Ariana Grande, was nearing forty and facing a brutal divorce. An equally nasty battle with Taylor Swift, over his ownership of her song catalogue, had sullied his public image. Rumors circulated that the future of Braun’s company, Ithaca Holdings, was in doubt. Amid this tumult, he was surprised to receive an invitation to speak with someone who had long fascinated him: the South Korean producer Bang Si-hyuk—known to admirers as Hitman Bang.
