Is 9/11 a Day, or Is It an Era?
The New York Times
After 20 years, it’s time for TV to treat Sept. 11 as serious, even divisive history, not just dutiful remembrance.
The TV specials for the Sept. 11 anniversary offer any number of ways to return to hell. There are wrenching interviews with survivors and with those whose loved ones died; uplifting stories of rescues and agonizing stories of those who perished in the attempt; footage of the conflagration, chaos and shock, as seen on morning newscasts and in the ash-blanketed streets; images of the first responders and volunteers digging through wreckage. A clarification: I actually took those descriptions from this newspaper’s review programming for the 10th anniversary. But they apply just as well this year, for the 20th. In documentary after documentary, on cable, streaming and broadcast, you can hear, over and over, the air-traffic-control distress calls. You can see, again and again, the stunning footage of an airliner slamming into the north tower of the World Trade Center, captured by a documentary filmmaker accompanying firefighters on a routine call. You can be reminded, time after heartbreaking time, what a beautiful, blue-sky September morning it was.
Black artists have long claimed ancient Egypt as their own. Now they’re telling their stories in person on the museum’s floor.
Get ready for the DOGE store.
A shimmering dream on the Nile has inspired creativity from the Harlem Renaissance to Kara Walker to Beyoncé. But how much can you play with the past?
Old photos of the California governor (and navy-suit enthusiast) are being widely shared as bruised Democrats seek a savior.
In the months leading up to the election, Donald J. Trump sat for a slew of casual and unconventional conversations with podcasters and streamers. We watched them all.
In the last year, museums, book festivals, arts journals and other organizations have experienced bitter discord over what qualifies as tolerable speech about the conflict and its combatants.
John Krasinski may not have the raw energy of Glen Powell, but a collaboration with the stylist Ilaria Urbinati has paid huge dividends.
The star of Jacques Audiard’s showy new musical about a trans Mexican crime boss, Karla Sofía Gascón, adds soul to the melodrama. Zoe Saldaña also shines.
The powerhouse soprano, already a company stalwart at 37, still seems to be figuring out a character whose moods change on a dime.
The artist’s works are the subject of two New York shows, at the Metropolitan Museum and the Jack Shainman Gallery.
The YouTube star has a coffee company, a podcast and a new collaboration with Warby Parker. One thing she isn’t doing much? Posting.