The iconic author’s new novel The Outsider has nothing to do with politics, but it can’t escape that reading.
“The movie’s primary aim is to upset people on a very deep level,” said Hereditary writer-director Ari Aster.
Jagged Little Pill is rough around the edges, but it feels so good (swimming in your stomach).
“It’s really good to get the underdog to rise up and smash the fuck out of it,” said Tony-nominated actor Anthony Boyle.
Some great performances from shows like Mean Girls and Frozen weren't included when the Tony nominees were announced Tuesday.
“Are they gonna try to turn the Roy in my play into a borderline psychotic narcissist like Donald Trump?” said Tony Kushner, the playwright.
With largely silent thrills, A Quiet Place is scary as hell and emotionally resonant. Here’s how actor-turned-director John Krasinski pulled it off.
“The lines are blurred and gray,” said actor Stacey Oristano. “They know they can get away with it because they have for so long.”
Yes, you've heard "Let It Go" 8 million times — but have you heard it belted from a Broadway stage?
The steamy 1998 thriller, which turns 20 today, offered subtle homoerotic thrills to those of us who were still figuring ourselves out.
“I guess it could be inherently political, but I like to think that it's not,” said The Band’s Visit actor George Abud.
The Call Me by Your Name screenwriter is 89.
The Shape of Water was the big winner, taking home four awards, including Best Picture.
Yes, the most exciting show on Broadway right now is based on a Nickelodeon cartoon.
Three Billboards Outside Ebbing, Missouri and Big Little Lies both won big.
Some of the best horror this year was also shockingly funny — in 2017, you had to laugh to keep from screaming.
We did a lot of crying this year, and sometimes it had nothing to do with the news. (Warning: Spoilers ahead.)
From a tiny kitchen to a pie shop to a pineapple under the sea, theater in 2017 took us outside our comfort zone. Here's a look at the best of the year, presented in alphabetical order.
The best television in a year that has sometimes felt like a cultural and political nightmare.
Tina Fey’s Broadway-bound adaptation of the 2004 film feels a lot like the movie you know and love — and that’s a good thing.