Vinson Cunningham

On the first Saturday of Coachella, Justin Bieber started his concert by looking down at a camera on the floor of the stage. If you were watching the show at home, on a laptop or a TV screen, via Coachella’s live stream on YouTube, he was, for a moment, looking you dead in the eye.

“Project Hail Mary” and Lena Dunham’s memoir “Famesick” are part of a new wave of art works that boldly embrace sincerity over cynicism. Why are we suddenly so eager to wear our hearts on our sleeves?

The bio-pic places the so-called King of Pop back at the center of the culture, putting a fresh coat of varnish on the star’s troubled legacy.

A new slate of cultural offerings presents divergent ideas about the struggles men and boys face today—and how to resolve them.

For the first time since 1999, the New York Knicks are eagerly awaiting the N.B.A. Finals. Vinson Cunningham appreciates the artfulness of the game, but “when the Knicks are on, playing prettily or not, I am a foulmouthed partisan,” he writes.

A recording from David Remnick's live video

A recording from David Remnick's live video

On the Spurs suddenly going cold in the second half, the Knicks erasing a twenty-nine-point deficit, and the miracle of OG Anunoby.

A joyous parade up the Canyon of Heroes proved a fitting celebration.

The director Christopher Nolan has been accused of “woke-ifying” Homer’s epic. But finding new resonance in ancient texts is part of the art of translation itself.