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Researching his role in “The Lifespan of a Fact,” the actor embeds in The New Yorker’s fact-checking department.
Michael Schulman interviews the actress and activist Jane Fonda about talking to voters, supporting \#MeToo, and growing into herself.
Michael Schulman writes about the 2018 Primetime Emmy awards, where a surprise marriage proposal one the night.
In shows such as “The Leftovers” and “Fargo,” she exudes a Midwestern pragmatism that has its own kind of mystery, Michael Schulman writes.
A swarm struck Times Square. Members of an élite beekeeping squad rushed to the scene, Michael Schulman writes.
Michael Schulman writes on the inability to see actors as laborers in light of the recent shaming of the actor Geoffrey Owens, of “The Cosby Show,” after he was photographed working at a…
Michael Schulman reviews the new film “The Wife,” starring Glenn Close, and writes about the parallels between Close’s life and personality and those of the character she plays in the …
Michael Schulman on the intrepid British writer touring the city’s public and private pools on a hot summer day.
Superstar Vehicles, a Radical “Oklahoma!”
Michael Schulman reviews the newly opened Broadway musical “Pretty Woman,” at the Nederlander Theatre, starring Samantha Barks, Andy Karl, Eric Anderson, and Orfeh.
Michael Schulman on Matt Tyrnauer’s new documentary, “Scotty and the Secret History of Hollywood,” about the nonagenarian Scotty Bowers, whose 2012 tell-all book, “Full Service,” r…
At her new digs in the West Village, the actress and newly minted memoirist gets locked out.
Michael Schulman reviews the musical “Head Over Heels,”at the Hudson Theatre, which features the first openly transgender woman to originate a major role on Broadway.
Michael Schulman on “Whitney,” a new documentary about the singer Whitney Houston, directed by Kevin Macdonald.
Michael Schulman writes about the film “Eighth Grade,” in which the former YouTube star turns on the medium that made him famous.
The star of Netflix’s “GLOW,” which returns for Season 2, is not afraid of getting physical.
Michael Schulman on the in-demand character actress Ann Dowd, and her adventures with cattle prods, nuns, and hoarders.
Michael Shulman reviews the 2018 Tony Awards, which he writes did not stint on weird juxtapositions, tuneful numbers, or memorable speeches.
Michael Schulman reviews “House of Nutter: The Rebel Tailor of Savile Row,” a new book by Lance Richardson about the brothers Tommy and David Nutter.
At a performance of “The Band’s Visit,” on Broadway, New York’s police band jammed with the show’s Alexandria Ceremonial Police Orchestra.
Michael Schulman writes about the folding of Interview Magazine, which was created in 1969 by the artist Andy Warhol.
Telling stories punctuated by standards, Turner recalls falling in love with the theatre.
Now that the kids who grew up on “The Carol Burnett Show” are middle-aged, the actress is finding new fans on Netflix, Michael Schulman writes.
“Pretty Woman” comes to Broadway, Armie Hammer stars in “Straight White Men,” and Chukwudi Iwuji plays Othello in Central Park.
Michael Schulman writes about the 2018 Tony Award nominees, including “Mean Girls,” “Three Tall Women,” “The Iceman Cometh,” “SpongeBob SquarePants,” and others.
Michael Schulman reviews two new projects about Grace Jones and Donna Summer—the bio-musical “Summer,” and the documentary “Grace Jones: Bloodlight and Bami.”
In Caryl Churchill’s “Light Shining in Buckinghamshire,” the director Rachel Chavkin sees a play for the resistance.
Michael Schulman writes about Tina Fey's "Mean Girls," now a musical on Broadway.
Bambi Linn, ninety-two, and Brittany Pollack, twenty-nine, discuss dancing the same role on Broadway, seventy-three years apart. Michael Schulman writes.
Michael Schulman writes about Marianne Elliott as she wrestles with a notoriously difficult play, and with Tony Kushner.
A revival of Mark Medoff’s Tony Award-winning play comes to Studio 54.