Books & Culture

A.I. is everywhere, and it’s often hard to tell what’s even real.

The host of “Financial Audit,” a popular YouTube series, claims that his goal is to make his viewers more financially literate, with his down-and-out interviewees serving as extreme test cases for what not to do.

From vast grids to winding suburbs, Americans have spent two centuries remaking the landscape around property.

In a new show at the Guggenheim, the artist grapples with patriotism and patriarchy through the long career of an anonymous F.B.I. agent.

The Pulitzer Prize winner’s intimate new novel, “Partita,” is out next week.

A new book revisits a notorious British sexual-assault trial in which a woman was convicted of posing as a man in bed.

“The Radiance,” “Cloudthief,” “Dear Dealer,” and “Citizen Beast.”

Franklin D. Roosevelt was slow to confront the threat of Fascism. A new history explores how he—and the country—finally came around.

The melodramatic power of Dakota Johnson and Anne Hathaway is squandered in a romantic tale that’s ludicrously muddled by suspicions of monstrous misdeeds.

In Alejandro G. Iñárritu’s conceptually elaborate apocalyptic farce, hectoring satire and visual sublimity fight to a draw.

This year’s prime offerings include the festival début of an overlooked great director and startling new work by acclaimed filmmakers.

Zach Cregger has made a great video-game movie, in part by leaving out the things that make a Zach Cregger movie great.

The beloved Brooklyn restaurant is back to serve a city in the thrall of Thai spiciness.

With “Food Is a Feeling,” the cookbook author joins a lineage of writers who have explored the appetites of the newly unmarried.

A food critic answers readers’ questions about a citrus-related relationship dispute and restaurant birthday dinners.

Contemplating life’s mysteries over a seafood tower at Zig Zag Oyster Bar.

While Christopher Abbott and Mike Faist duke it out as John Steinbeck’s Trask brothers, Florence Pugh’s Cathy is a gothic villain you can’t help but root for.

The TV writer-actor on the sandwich generation, finding love onscreen, and growing older with her shows.

In chronicling the making of “Girls,” Dunham’s memoir reveals the cost of moving from the freedom of independent filmmaking to the corporate demands of television.

A new pop-feminist interpretation of Miles Franklin’s 1901 Australian novel is both fizzy and intelligent.

In “Delirium” and “The Cherry Orchard,” experimental directors smash up and rebuild classic plays.

“The Ford/Hill Project,” a documentary play, may capture recent events, but it’s a product of the present: activist theatre in a moment when the idea of civic urgency is losing purchase.

Twenty-odd shows from Edinburgh’s annual avant-garde rumspringa.

The New Yorker writer sings the praises of a little-known Canadian television series set at a Shakespeare festival—which happens to be her favorite show of all time.

In a sold-out run at Yankee Stadium and an eight-part documentary on HBO, the rapper makes the latest case for his own singularity.

The singer has been raunchy, folksy, psychedelic, Disney-clean. On her new album, “Bass Persuades,” she disappears onto the dance floor.

The d.j. explains how he worked out some of the turntable innovations that led to hip-hop as we know it, and why the Furious Five’s biggest hit was the beginning of the end.

Nate Amos writes songs that both embrace and lampoon dusty singer-songwriter tropes.