Troy Patterson

Netflix’s new relative of “Tidying Up with Marie Kondo,” in which two organizing influencers transform Khloé Kardashian’s garage and regular families’ clutter, feels like just another marketing channel.

The book features an extraordinary passage that shows how to regard the holiday as a holy day.

This dispersal of community is a necessary thing, with an eeriness that is actual and conceptual and metaphorical: a symptom of a new approach to public space.

Neither the moral deliberations of the new Amazon series nor its technical facility are adequate to its ambitions.

The premise of the Netflix show is promoted as a utopian innovation. “Your relationship will begin by forming an intimate bond with nothing to distract you,” a co-host, Nick Lachey, says.

“High Fidelity” has always concerned itself with nostalgia for youthful heartbreak, but, this time around, the mists of memory haze obscure the hero.

The running-through-Chinatown scene in “Frances Ha,” Vogue’s interview-less Beyoncé cover story, Cindy Sherman’s Instagram account, and more.

There are few items of clothing as socially, politically and racially charged as the hoodie. It has come to represent a modern day parable of social inequality,

Programs on WE tv, AMC, Netflix, and Hulu offer celebrity chat, in-depth analysis of landmark songs, a reality competition, and a dramatized look at the making of one of the genre’s titans.

Regina King gives a performance so subtle and muscular as to exhaust all superlatives.

The final episode of Season 2 deconstructs the characters’ ways of speaking power into existence. When they try to talk normally, they find that they have reached their limit.

The movie knows a thing that is, apparently, rather difficult to say: that the system of higher learning in the United States is a scam at its essence.

“Audience of One,” by James Poniewozik, identifies Donald Trump as a postmodern feeler, who intuits and responds to the stimuli of electronic media with the dark brilliance of an idiot savant.

A new track by a London teen-ager joins a catalogue of tribute songs that honor and interrogate rock-and-roll heroes.

These Emmys were uneven and unsettled, and thus unusually interesting by the standards of this telecast. It was the text of a medium in flux.

The Upper East Side institution wasn’t just a shop; it was performance art. It presented a new parsing of common objects, with Wunderkammer charm.

I am optimistic about the futures of some of the very youngest designers precisely because they are palpably pessimistic about the future at large.

The fact that orange wine is challenging—that its appeal is more cerebral and gastronomic than carnal and epicurean—is central to its identity.

The show is a wholesome domestic soap about the perils and rewards of mixing business and pleasure, in which high style merges with basic cheese.

The series presents the view that Fox News programming is essentially a propagandistic edit of Ailes’s own conservatism—nakedly self-interested, tacitly white supremacist, and theatrically aggrieved.