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Variety

Richard Dreyfuss Sparks Outrage, Massachusetts Theater Apologizes For His ‘Offensive and Distressing’ Remarks at ‘Jaws’ Screening [330d]
Bill Walton, NBA Star, ESPN Commentator and Grateful Dead Superfan, Dies at 71 [330d]
Jennifer Lopez Says AI Has Been ‘Really Scary’: Ads Are ‘Selling Skincare I Know Nothing About’ Using My Face Covered in ‘Wrinkles’ [330d]
‘Sister Midnight’ Review: Surreal Indian Comedy Swerves Into Genre Excess [330d]
‘Desert of Namibia’ Review: A Meandering Chronicle of a Listless Japanese Zoomer [330d]
Emmy FYC Events Experience Packed Houses as Stars and Writers Return, a Year After the Hollywood Strikes [330d]
‘Norah’ Review: A Striking Debut About Artistic Repression in ’90s Saudi Arabia [330d]
Box Office: ‘Furiosa’ Just Barely Beats ‘The Garfield Movie’ in Disastrous Memorial Day Weekend — the Worst in Decades [330d]
‘Lula’ Review: An Incomplete Portrait of Brazil’s Fiery Left-Wing President [330d]
‘Misericordia’ Review: Alain Guiraudie’s Darkly Comic Backwoods Fable of Pansexual Desire and Small-Town Sociopathy [330d]
Billie Eilish’s ‘Hit Me Hard and Soft’ Opens at No. 2 as Taylor Swift Continues to Top Albums Chart [330d]
Iran’s ‘In the Shadow of the Cypress’ and Guatemalan Pablo León’s ‘Remember Us’ Win Top Prizes at Spain’s Animayo Gran Canaria Fest [330d]
Ananya Panday Stars in Riches to Rags Drama Series ‘Call Me Bae’ at Prime Video India (EXCLUSIVE) [330d]
Taipei Film Festival Sets Competition Selection, Wang Xiaoshuai as Jury Head – Global Bulletin [330d]
‘The Good Wife’ Gets Arabic Adaptation on MBC’s Shahid Streamer With Star Hend Sabri in Lead Role [330d]
‘Being Maria’ Review: A Poignant Dive Into the Turbulent Life of Actor Maria Schneider [330d]
China Box Office: ‘The Last Frenzy’ Keeps Theatrical Lead as Momentum Slows Further [330d]
‘The Jinx: Part Two’ Showed the Impossible Task of Topping a True Crime Classic [330d]
‘The Sympathizer’ Cast Breaks Down the Mysterious Meaning of ‘Nothing’ in the Finale [330d]
How ‘Interview With the Vampire’ Used Sacreligious Statues, Projection Animation to Create the Théâtre des Vampires [330d]
Korea Box Office: ‘Furiosa: A Mad Max Saga’ Wins Its Debut Weekend [330d]
‘Barbie’ and ‘Oppenheimer’ Would’ve Been ‘Just as Big’ on Netflix, Says Ted Sarandos: ‘There’s No Reason to Believe That the Movie Itself Is Better in Any Size of Screen’ [330d]

The New Yorker

“The Bath,” by Marianne Boruch [330d]
Briefly Noted Book Reviews [330d]
The World Keeps Getting Richer. Some People Are Worried [330d]
How to Pick Stocks Like You’re in Congress [330d]
The Detroit Pistons Were My Father’s Second Family [330d]
Piecing Together the Secrets of the Stasi [330d]
The Decades-Long Romance of Las Vegas and Hawaii [330d]
The Biggest Ponzi Scheme in Hollywood History [330d]
The Actors Recording a Studio Album for a Play About Recording a Studio Album [330d]
The Mail [330d]
An Egyptian Photographer’s Portraits of a Changing Sinai [330d]
Vermont Moves to Hold Fossil-Fuel Companies Liable for Climate-Change Damage [330d]
“Marigold,” by Mary Jo Bang [330d]
Rachel Syme Goes Behind the Scenes of a Short-Lived Broadway Musical [330d]
Sergio García Sánchez’s “Scoot” [330d]
Daily Cartoon: Monday, May 27th [330d]
How the Reality-TV Industry Mistreats Its Stars [330d]
Notice of Security Incident [330d]
The Fashionista Modernism of Yuja Wang [330d]

Heavy

Esquire

Mashable