Between Toronto, Bombay and a new play by Wajdi Mouawad, Adnan Khan explores the ties that bind us.
A survivalist tests recipes for the apocalypse.
A longtime science reporter reviews the ways we’ve tried, and failed, to convey the looming climate crisis.
Letting an algorithm pick your music is now second nature, but what gets lost in the flow?
Lizzie Chatham explores fictional worlds where women reign.
Vancouver photography rises and falls with Vancouver real estate—for better and worse.
How can we fix the CBC? Tim Forster writes the script.
Behind the scenes at Montreal’s iconic indie label, Constellation Records.
David Huebert reviews Sarah Marie Wiebe’s Everyday Exposure.
Kyle Carney rereads Al Purdy’s Wild Grape Wine.
Tannara Yelland revisits Manufacturing Consent: Noam Chomsky and the Media on its twenty-fifth anniversary.
Alan Randolph Jones on Those Who Make Revolution Halfway Only Dig Their Own Graves, which deconstructs the relevance of revolutionary fervour in modern-day Quebec.
In Writers’ Rights, Nicole Cohen argues that the media’s treatment of freelancers leaves many risking financial ruin. Erin Pehlivan takes a closer look.
Gavin Tomson reads Rivka Galchen’s Little Labors, reflecting on writers who mother and mothers who write.
With Operation Avalanche, Matt Johnson takes a characteristic risk to break into the American movie market. Adam Nayman on how the director is eschewing Canada’s cozy film industry and making his own success.
Alexander Huls reviews Angel Catbird, Margaret Atwood’s comic debut.
Chandler Levack documents the life and death of Videofag, the tiny living room theatre that became Toronto’s newest art institution.
Joni Murphy’s Double Teenage grapples with typical adolescent girldom. And, as Shannon Tien writes, that means violence is never far away.
Sylvie Rancourt’s memoir from her time as a stripper was censored and seized when it came out in the 1980s. Shannon Tien on a long-deserved English translation of Melody: Story of a Nude Dancer.
Sophie Deraspe's documentary The Amina Profile strips back a romance to reveal an ugly truth.
Don’t get too excited for the reboot of David Lynch’s cult series, Maija Kappler warns. The show was tired before it got cancelled the first time.
Too often in television and real life, women must die to be taken seriously. Laura Wright on victims as props, not people.
John Semley pulls back the skin of Hannibal, a show that prizes mouthwatering aesthetics over meaty writing.
How Lost’s creators couldn’t write themselves off the island.
Summer reads from Jordan Tannahill, Marc Bell, Marina Endicott and more.
New summer music from Jazz Cartier, Metz, Sasha Chapin and more.
It’s easy not to be the butt of the joke when you’re the one writing it. Adam Nayman on how Seinfeld’s comedic brilliance relied on a privileged perspective.
Mathieu Denis’ Corbo is an accomplished work about the FLQ that eschews stereotypical sixties aesthetics.
Albert Shin's new film is the future of Canadian cinema.
On Andy Burns’ fan-pleaser Wrapped in Plastic: Twin Peaks.
In Ken Babstock’s latest, the poet continues on a challenging course. On Malice is important, whether we like it or not.
Denis Villeneuve’s Enemy, starring Jake Gyllenhaal, explores the radical instability of post-modernist urban life.
In Station Eleven, a troupe of actors and musicians traverse a dystopian wasteland and search for meaning in their art.
Stephen Harper’s A Great Game chronicled the birth of professional hockey with fanboy enthusiasm. But a closer look reveals a between-the-lines defence of the PM’s policies.
Actors turn the human instinct for performance into art. Ingrid Veninger’s The Animal Project explores this unique psychology.