Last Friday, producer and artist-in-residence 9th Wonder gave a lecture in the Rotunda titled “The History of Hip-Hop.”
Lacking age and experience, Khalid exhibits the joy of black youth so rarely seen or even acknowledged in the highly politicized landscape of black art.
“Get Out” is a much-needed mainstream subversion of established, racially-charged cinematic tropes.
The subtle exclamation of “The Sounds and Silences of Black Girlhood” — a mini-exhibit in the Special Collections Library — exists as an undeniable reminder of the inherent resistance black women express from a young age.
Until the last few minutes of the “Atlanta” finale, Donald Glover, creator of the show and protagonist Earnest “Earn” Marks, grants the audience only this — a lost jacket with an unexpected and increasingly alarming significance.
“House of Lies,” a Showtime comedy-drama starring Don Cheadle as the bull-in-a-china-shop management consultant Marty Kaan, did its very best to give viewers a millionaire’s fairytale ending.
Comedian Bo Burnham wakes up in a hotel room, walks over to the window and stares out over the gray world, his face somber and covered in clown makeup.
MTV’s seminal reality TV show “Real World” ended its 31st season the end of May. But over the years the show has changed.
