Carina Chocano

André Leon Talley, Joan Didion, Elizabeth Wurtzel and the rise of author’s auctions.

This season focuses on the willful delusion of the wealthy — and how easily preyed upon people who evade reality can be.

Olivia Wilde’s new film is trying to fight free of its pre-release reputation.

A demonstration of grace even in the most baffling of circumstances.

Loren Bouchard’s accidental career as a comedy mogul has now brought his TV family to the big screen.

In the fantasy depicted by the Primitive Technology YouTube channel, it is possible to bring a task to completion without interruption.

They’ve already seen the trends, chased the goods and graduated into freedom.

Celeste Barber’s Instagram elegantly prompts us to consider why we put so much stock in unrealistic imagery.

M. Night Shyamalan’s new movie has a trailer that eerily resonates with our strange times; and that’s enough for me.

As it stretches its premise across a fourth season, the show may inadvertently be channeling our real-world paralysis.

A brilliant young showrunner from “Killing Eve” unveils her first film, “Promising Young Woman,” bringing macabre feminist wit to experiences that no one wants to talk about.

It’s no accident that this year’s most popular fairy tale is about a woman celebrated for her genius.

A video on digital classroom etiquette makes it very clear: Your home is no longer your own, and your kids must pretend to learn in it.

The HBO drama about trauma is possibly the most emblematic show of 2020.

A film advertises the city as a modern escape where women can do whatever they want. The reality of the place thwarts the girls’ trip vibe at every turn.

On Instagram, “mom” means linen-clad babies and perfect homes. On TikTok, it’s real women being their wholesome, goofy selves.

It’s like that saying about how to make God laugh: Just tell him your plans.

Why try to “rise above” preconceived notions about you when you can harness them?

Every effort to obscure, deny or restrict the experiences of women just creates a new, shared experience — that of being controlled.

“Dead Girls,” by Alice Bolin, and “Against Memoir,” by Michelle Tea, reflect on American culture’s often violent fixation on female bodies.