Finally, a stage-to-screen adaptation that asks, “What if we replaced the main character in a teen suicide drama with Howard the Duck?”

The kind that isn’t actually a “story.” It’s a process.

them.: “This Was Me” is a touching tribute to queer history, and the movie's beating heart.

It’s a shame Hudson had to be wasted in a joyless, pointless, and entirely soulless recounting of the Queen of Soul’s early life and career.‍

Enough motherly patronizing, because Everybody’s Talking About Jamie is ultimately a pleasure to experience and features strong supporting turns from its cast.

I spoke with Hickey about Sublet, his career, and ‘straights playing gay’ discourse.

Zola is the most Florida movie I have ever seen (this is a good thing).

I delved deep into stan territory with the Halston actor about what makes Minnelli a popular culture legend.

I spoke with Andy Señor Jr., an early ‘Angel’ replacement in Rent, about bringing the musical to his Cuban homeland.

I caught up with the Broadway legend to talk about her career, and why she thinks the film is a landmark for movie musicals and Latinx representation.

Like a mistake that nine months later turns into a beloved, if troublesome, child, CRUELLA is a welcome addition to the landscape.

Leave everything at home and tell that friend with the speakers to come through, because Jon M. Chu’s In the Heights is the glimmering rainbow under an open fire hydrant, and with just as much force.

An interview with Bailee Madison and Kevin Quinn, the stars of Netflix’s movie musical, A Week Away.

Despite lacking a certain oomph in the portrayal of its iconic titular character, Wolfe’s adaptation is a lowkey, low-stakes affair with excellent performances and captivating tension.

My picks for best moving image works of 2020: I May Destroy You and Circle Jerk

Brief review of Smooth Talk, from the 2020 New York Film Festival’s Revivals section.

DigBoston Staff Pick for iconic stoner movies. My go-to? Radley Metzger’s Score.

Bill & Ted Face the Music is a completely unnecessary but winsome enough entry in the Southern California dude saga that’s as comforting as our bad teenage habits.

An opinion piece about the beauty of 2020’s virtual Wicked Queer festival, followed by reviews of Ask Any Buddy and Dry Wind.

The Lonely Island’s giddy, inspired sense for pushing a particular theme to its most illogical conclusion while still keeping ample room for #random punchlines carries through Palm Springs, the breeziest 90 minutes I’ve spent all year.

An interview with “Booksmart” director Olivia Wilde, writer Katie Silberman and stars Beanie Feldstein and Kaitlyn Dever .

Alonso Ruizpalacios’ Museo, aside from being a virtuoso piece of filmmaking, is unique in that it considers the precarious morality of history museums.

A few film descriptions for Harvard Film Archive’s Weekend Matinee series.

With Eighth Grade, Bo Burnham has taken a sledgehammer to the outdated myth that high school is the worst part of growing up.

Seeing things in black and white often means denying room for any nuance and detail. And yet, in Marjane Satrapi’s Persepolis, black and white is ultimately a reflection and refraction of its protagonist.

This 1961 Best Picture winner ingeniously builds upon the choreographed camera of Old Hollywood extravaganzas and the neo-Shakespearean tragedy at its core to create a New York at once gritty and dangerous as well as magical and fluid.

And bumpy, it is. What should have been a celebratory night for Margo spirals into self-destructive paranoia, with each move of hers downplayed or eclipsed by her guests.

Separate in genre and subject matter but equal in ambition and tone, neither film is explicitly about contemporary life — in fact, they seem to stand completely outside of time.

By casting Catherine Deneuve, an actress whose doll-like beauty is matched only by her ability to act as both a blank slate and an impenetrable enigma, Buñuel was able to engage the audience on the multiple levels needed to attempt to understand a woman like Séverine.

This carefully constructed film mirrors its characters by placing a liberal amount of actorly improvisation and dramatic chaos in a painstakingly crafted masterpiece that’s equal parts swooning fairy tale, haunting ghost story and absurdly funny romantic comedy.

The Gwen’s Honest Truth about the mezzanine fight at Chicago’s reopening.

Ngozi Anyanwu’s play is a mostly brilliant, knowing rendering of the humiliating mental gymnastics performed during a breakup

A queer son plays his own mother in this one-man, one-hour tropical breeze that picks up into a storm of child-rearing trauma.

Pass Over, with its flaws, beauties, and contradictions, is much the same, but heralds an electric new moment in highly-visible American theatre.

NYT: For an outdoor residency at the Brooklyn Navy Yard, the Bridge Production Group breathes fresh life into a 2004 musical.

The singer was spectacularly candid with her presence, and generous with her talent.

It’s updates like these that left me feeling like this work might have been better left alone, without all the fuss about updating the show’s politics and instant relatability.

Sondheimia is an intimate blend of personal history and finely-tuned musical performance

It’s Stanley versus Warren, and this predicament places me at an annoying gay crossroads.

I spoke with Soo about The Stand-In, an Audible Original she narrates and performs.

As we listen to “Zero to Hero” for the billionth time this weekend, let us all reflect on how best to put White back on the Great White Way.

A world tour of the grandstanding kvetching for which Jackie Hoffman is rightfully beloved

I suppose part of me should be upset that this isn’t a new production: I’ve always thought Anything Goes (God love musical comedy) is such, such a stupid show that it could withstand a rewrite every 10 years.

To paraphrase MacArthur Genius Chimamanda Ngozi Adichie, “We Should All Be Sweet Charity Stans.”

Ellen Greene scream-singing in this Little Shop of Horrors medley is glorious.

Eleanor Burgess talks me through adapting The Niceties for a digital production.

The Drama Book Shop—a storied purveyor of scripts and other theatre-related products— opened its doors in a new location on West 39th Street.

Orville Peck released a cover of Lady Gaga’s “Born This Way (The Country Road Version)”. Once more, in case you missed it: Orville Peck released a cover of Lady Gaga’s “Born This Way (The Country Road Version)”. ‍

Persou has the enjoyable edge of being one of the first in-person, immersive live productions happening in New York, but none of the Greek catharsis it promises.

Marquee Digital––a paperless alternative to print theatre programs––has the potential to revolutionize the way we engage with the performing arts.

While the rest of the world throws open its doors, Amazon has decided to shut us out of what could have been the glitziest, most high-energy screenings of the fall.

Animal Wisdom is a delightful two hours spent in the company of a woman who knows how to old-school entertain and serves as the year’s best highlight reel for Christian’s talent.

NYT: A cadre of Yale drama graduates have followed up a first streaming hit with “This American Wife,” a reality-blurring look at the long-running reality TV franchise.

You don’t walk into a play titled Lilies, or the Revival of a Romantic Drama expecting realism, and yet, in this staging, one longs for the flowery melodrama the name promises.

With the rapid-fire announcement of (almost) every Broadway show’s return this week came the question: Who will actually be starring in these?

Foster’s got the technique and charm, but her clean-cut style already points to this growing trend that makes me nervous for the state of musical comedy.

The West Side Story teaser… It’s giving community theatre. It’s giving ‘80s sappiness.

It came as a delightful shock (or with loving horror), to receive a text yesterday asking whether I knew that the Rich Man’s Frug was quickly becoming the latest TikTok dance trend.

A conversation with self-described “theatre YouTube nerd” Billy Magnussen about his stage roots and his new role on HBO Max’s Made for Love.