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Summary A roundup of our recent writing on arts and entertainment

Content <figure class="lead-image"> <img src="http://cdn.thewire.com/media/img/mt/2017/02/Rembrandts_zoon_Titus_in_monniksdracht_Rijksmuseum_SK_A_3138/lead_large.jpg" alt="Image " title="&lt;em&gt;The Atantic&lt;/em&gt;&#39;s Week in Culture" > </figure> <p><strong>Don’t Miss</strong></p> <p><a href="https://www.theatlantic.com/entertainment/archive/2017/02/the-case-for-shyness/516933/">The Case for Shyness</a>—<em>Megan Garber traces the history of timidity via Joe Moran’s fascinating new book </em>Shrinking Violets<em>.</em></p> <hr /> <figure><img alt="" height="427" src="https://cdn.theatlantic.com/assets/media/img/posts/2017/02/lead_960_2-4/40106278c.jpg" width="630" /> <figcaption class="credit">Chris Pizzello / Invision / AP</figcaption> </figure> <p><strong>Oscars</strong></p> <p><a href="https://www.theatlantic.com/entertainment/archive/2017/02/oscars-crash-course-2017/517152/">Your 2017 Oscars Crash Course</a>—<em>Arnav Adhikari rounds up all the best stories from </em>Atlantic<em> writers to get you up to speed for the 89th Academy Awards.</em></p> <p><a href="https://www.theatlantic.com/entertainment/archive/2017/02/my-2017-oscar-predictions/517677/">My 2017 Oscars Predictions</a>—<em>Christopher Orr considers the top contenders for the biggest awards at the ceremony.</em></p> <p><a href="https://www.theatlantic.com/entertainment/archive/2017/02/fire-at-sea-documentary-review/517359/">In <em>Fire at Sea</em>, Tragedy and Normalcy Live Side by Side</a>—<em>Anna Diamond reviews the Oscar-nominated documentary, which offers a compelling portrait of how the migration crisis affects a tiny Italian island.</em></p> <p><a href="https://www.theatlantic.com/entertainment/archive/2017/02/denzel-washingtons-enduring-stardom/517581/">On Denzel Washington’s Enduring Stardom</a>—<em>David Sims explores the reasons behind the </em>Fences<em> actor’s remarkable longevity.</em></p> <p><a href="https://www.theatlantic.com/entertainment/archive/2017/02/a-common-theme-for-this-years-oscar-nominated-documentaries/517638/">A Common Theme For This Year’s Oscar-Nominated Documentaries</a>—<em>Sarah Feldberg explores the films focused on the migrant crisis and Syrian conflict at this year’s Academy Awards.</em></p> <hr /> <figure><img alt="" height="420" src="https://cdn.theatlantic.com/assets/media/img/posts/2017/02/lead_960_3-3/06488ca59.jpg" width="630" /> <figcaption class="credit">Sundance Selects</figcaption> </figure> <p><strong>Film</strong></p> <p><em><a href="https://www.theatlantic.com/entertainment/archive/2017/02/kiki-revisits-the-inspirational-power-of-new-yorks-ballroom-scene/517371/">Kiki </a></em><a href="https://www.theatlantic.com/entertainment/archive/2017/02/kiki-revisits-the-inspirational-power-of-new-yorks-ballroom-scene/517371/">Revisits the Power of New York’s Ball Culture</a>—<em>David Sims praises the new documentary, which looks at a safe haven for LBTQ youths of color, first examined in </em>Paris Is Burning<em>.</em></p> <p><a href="https://www.theatlantic.com/entertainment/archive/2017/02/the-south-african-building-that-came-to-symbolize-the-apocalypse/517056/">The South African Building That Came to Symbolize the Apocalypse</a>—<em>Ryan Lenora Brown shares the architectural history of Ponte City, Africa’s tallest apartment block which has become a mainstay of movies about the end of the world.</em></p> <p><a href="https://www.theatlantic.com/entertainment/archive/2017/02/why-netflix-will-release-martin-scorseses-next-film/517476/">Why Netflix Will Release Martin Scorsese’s Next Film</a>—<em>David Sims unpacks the reasons behind why the streaming service will produce the director’s next gangster epic.</em></p> <p><a href="https://www.theatlantic.com/entertainment/archive/2017/02/get-out-jordan-peele-review/517524/"><em>Get Out</em> Is a Funny and Brilliantly Subversive Horror Film</a>—<em>David Sims relishes Jordan Peele’s excellent directorial debut.</em></p> <p><em><a href="https://www.theatlantic.com/entertainment/archive/2017/02/i-dont-feel-at-home-in-this-world-anymore-is-a-dark-goofy-neo-noir/517623/">I Don’t Feel at Home in This World Anymore </a></em><a href="https://www.theatlantic.com/entertainment/archive/2017/02/i-dont-feel-at-home-in-this-world-anymore-is-a-dark-goofy-neo-noir/517623/">Is a Dark, Goofy Neo-Noir</a>—<em>David Sims watches Macon Blair’s directorial debut, which swerves between indie comedy and ultra-violence.</em></p> <hr /> <figure><img alt="" height="369" src="https://cdn.theatlantic.com/assets/media/img/posts/2017/02/Kampf_der_untergehenden_Gotter_by_F._W._Heine/df00096f7.jpg" width="630" /> <figcaption class="credit">Wikimedia Commons</figcaption> </figure> <p><strong>Books</strong></p> <p><a href="https://www.theatlantic.com/entertainment/archive/2017/02/the-politics-of-retelling-norse-mythology/517422/">The Politics of Retelling <em>Norse Mythology</em></a>—<em>Lisa L. Hannett unpacks Neil Gaiman’s remarkable new book, which has triggered a debate about who owns pagan tales.</em></p> <p><a href="https://www.theatlantic.com/entertainment/archive/2017/02/simon-and-schusters-completely-avoidable-milo-disaster/517362/">Simon & Schuster’s Completely Avoidable Milo Yiannopoulos Disaster</a>—<em>Sophie Gilbert criticizes the publisher’s delayed cancelling of the former </em>Breitbart<em> editor’s book deal.</em></p> <hr /> <figure><img alt="" height="420" src="https://cdn.theatlantic.com/assets/media/img/posts/2017/02/lead_960-6/ea7ec32df.jpg" width="630" /> <figcaption class="credit">Brooklyn Academy of Music</figcaption> </figure> <p><strong>Theater</strong></p> <p><em><a href="https://www.theatlantic.com/entertainment/archive/2017/02/escaped-alone-caryl-churchill-bam/517191/">Escaped Alone </a></em><a href="https://www.theatlantic.com/entertainment/archive/2017/02/escaped-alone-caryl-churchill-bam/517191/">Finds Comfort at the End of the World</a>—<em>Sophie Gilbert analyzes Caryl Churchill’s new play, which finds solace amid an apocalypse.</em></p> <hr /> <figure><img alt="" height="410" src="https://cdn.theatlantic.com/assets/media/img/posts/2017/02/lead_large-6/a1f867d5c.png" width="615" /> <figcaption class="credit">Universal</figcaption> </figure> <p><strong>Music</strong></p> <p><a href="https://www.theatlantic.com/entertainment/archive/2017/02/katy-perry-is-chained-to-her-rivalry-with-taylor-swift/517461/">The Maddening Media Obsession With Female Feuds, Katy Perry Edition</a>—<em>Spencer Kornhaber discusses the problems with how the singer’s supposed rivalry with Taylor Swift is portrayed.</em></p> <p><a href="https://www.theatlantic.com/entertainment/archive/2017/02/frank-ocean-calvin-harris-migos-slide-review-song-of-summer/517707/">Frank Ocean’s Surprising Slide Back to Pop</a>—<em>Spencer Kornhaber listens to the enigmatic singer’s new collaboration with Calvin Harris and Migos. </em></p> <hr /> <figure><img alt="" height="410" src="https://cdn.theatlantic.com/assets/media/img/posts/2017/02/lead_large-5/f36d786d0.jpg" width="615" /> <figcaption class="credit">Eric Miller / Reuters</figcaption> </figure> <p><strong>Media</strong></p> <p><a href="https://www.theatlantic.com/entertainment/archive/2017/02/scenes-from-the-mall-of-america/517503/">Scenes From the Mall of America</a>—<em>Megan Garber weighs in on the massive shopping center’s announcement of a writing residency in honor of its 25th anniversary.</em></p> <p><a href="https://www.theatlantic.com/entertainment/archive/2017/02/why-are-celebrities-known-as-stars/517674/">Why Are They ‘Stars’?</a>—<em>Megan Garber connects the history of why celebrities are considered celestial to Shakespeare, Chaucer, and movie cameras.</em></p>

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Hidden blurb --- !ruby/object:Feedjira::Parser::AtomEntry entry_id: tag:thewire.com,2017:50-517704 content: "\n\n \n<figure class=\"lead-image\">\n\n \n \n \n \n \ \n <img\n src=\"http://cdn.thewire.com/media/img/mt/2017/02/Rembrandts_zoon_Titus_in_monniksdracht_Rijksmuseum_SK_A_3138/lead_large.jpg\"\n \ alt=\"Image \"\n title=\"&lt;em&gt;The Atantic&lt;/em&gt;&#39;s Week in Culture\"\n >\n \n \n \n\n\n \n \n\n</figure>\n\n<p><strong>Don’t Miss</strong></p>\n\n<p><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/the-case-for-shyness/516933/\">The Case for Shyness</a>—<em>Megan Garber traces the history of timidity via Joe Moran’s fascinating new book </em>Shrinking Violets<em>.</em></p>\n\n<hr />\n<figure><img alt=\"\" height=\"427\" src=\"https://cdn.theatlantic.com/assets/media/img/posts/2017/02/lead_960_2-4/40106278c.jpg\" width=\"630\" />\n<figcaption class=\"credit\">Chris Pizzello / Invision / AP</figcaption>\n</figure>\n\n<p><strong>Oscars</strong></p>\n\n<p><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/oscars-crash-course-2017/517152/\">Your 2017 Oscars Crash Course</a>—<em>Arnav Adhikari rounds up all the best stories from </em>Atlantic<em> writers to get you up to speed for the 89th Academy Awards.</em></p>\n\n<p><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/my-2017-oscar-predictions/517677/\">My 2017 Oscars Predictions</a>—<em>Christopher Orr considers the top contenders for the biggest awards at the ceremony.</em></p>\n\n<p><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/fire-at-sea-documentary-review/517359/\">In <em>Fire at Sea</em>, Tragedy and Normalcy Live Side by Side</a>—<em>Anna Diamond reviews the Oscar-nominated documentary, which offers a compelling portrait of how the migration crisis affects a tiny Italian island.</em></p>\n\n<p><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/denzel-washingtons-enduring-stardom/517581/\">On Denzel Washington’s Enduring Stardom</a>—<em>David Sims explores the reasons behind the </em>Fences<em> actor’s remarkable longevity.</em></p>\n\n<p><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/a-common-theme-for-this-years-oscar-nominated-documentaries/517638/\">A Common Theme For This Year’s Oscar-Nominated Documentaries</a>—<em>Sarah Feldberg explores the films focused on the migrant crisis and Syrian conflict at this year’s Academy Awards.</em></p>\n\n<hr />\n<figure><img alt=\"\" height=\"420\" src=\"https://cdn.theatlantic.com/assets/media/img/posts/2017/02/lead_960_3-3/06488ca59.jpg\" width=\"630\" />\n<figcaption class=\"credit\">Sundance Selects</figcaption>\n</figure>\n\n<p><strong>Film</strong></p>\n\n<p><em><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/kiki-revisits-the-inspirational-power-of-new-yorks-ballroom-scene/517371/\">Kiki </a></em><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/kiki-revisits-the-inspirational-power-of-new-yorks-ballroom-scene/517371/\">Revisits the Power of New York’s Ball Culture</a>—<em>David Sims praises the new documentary, which looks at a safe haven for LBTQ youths of color, first examined in </em>Paris Is Burning<em>.</em></p>\n\n<p><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/the-south-african-building-that-came-to-symbolize-the-apocalypse/517056/\">The South African Building That Came to Symbolize the Apocalypse</a>—<em>Ryan Lenora Brown shares the architectural history of Ponte City, Africa’s tallest apartment block which has become a mainstay of movies about the end of the world.</em></p>\n\n<p><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/why-netflix-will-release-martin-scorseses-next-film/517476/\">Why Netflix Will Release Martin Scorsese’s Next Film</a>—<em>David Sims unpacks the reasons behind why the streaming service will produce the director’s next gangster epic.</em></p>\n\n<p><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/get-out-jordan-peele-review/517524/\"><em>Get Out</em> Is a Funny and Brilliantly Subversive Horror Film</a>—<em>David Sims relishes Jordan Peele’s excellent directorial debut.</em></p>\n\n<p><em><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/i-dont-feel-at-home-in-this-world-anymore-is-a-dark-goofy-neo-noir/517623/\">I Don’t Feel at Home in This World Anymore </a></em><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/i-dont-feel-at-home-in-this-world-anymore-is-a-dark-goofy-neo-noir/517623/\">Is a Dark, Goofy Neo-Noir</a>—<em>David Sims watches Macon Blair’s directorial debut, which swerves between indie comedy and ultra-violence.</em></p>\n\n<hr />\n<figure><img alt=\"\" height=\"369\" src=\"https://cdn.theatlantic.com/assets/media/img/posts/2017/02/Kampf_der_untergehenden_Gotter_by_F._W._Heine/df00096f7.jpg\" width=\"630\" />\n<figcaption class=\"credit\">Wikimedia Commons</figcaption>\n</figure>\n\n<p><strong>Books</strong></p>\n\n<p><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/the-politics-of-retelling-norse-mythology/517422/\">The Politics of Retelling <em>Norse Mythology</em></a>—<em>Lisa L. Hannett unpacks Neil Gaiman’s remarkable new book, which has triggered a debate about who owns pagan tales.</em></p>\n\n<p><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/simon-and-schusters-completely-avoidable-milo-disaster/517362/\">Simon & Schuster’s Completely Avoidable Milo Yiannopoulos Disaster</a>—<em>Sophie Gilbert criticizes the publisher’s delayed cancelling of the former </em>Breitbart<em> editor’s book deal.</em></p>\n\n<hr />\n<figure><img alt=\"\" height=\"420\" src=\"https://cdn.theatlantic.com/assets/media/img/posts/2017/02/lead_960-6/ea7ec32df.jpg\" width=\"630\" />\n<figcaption class=\"credit\">Brooklyn Academy of Music</figcaption>\n</figure>\n\n<p><strong>Theater</strong></p>\n\n<p><em><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/escaped-alone-caryl-churchill-bam/517191/\">Escaped Alone </a></em><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/escaped-alone-caryl-churchill-bam/517191/\">Finds Comfort at the End of the World</a>—<em>Sophie Gilbert analyzes Caryl Churchill’s new play, which finds solace amid an apocalypse.</em></p>\n\n<hr />\n<figure><img alt=\"\" height=\"410\" src=\"https://cdn.theatlantic.com/assets/media/img/posts/2017/02/lead_large-6/a1f867d5c.png\" width=\"615\" />\n<figcaption class=\"credit\">Universal</figcaption>\n</figure>\n\n<p><strong>Music</strong></p>\n\n<p><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/katy-perry-is-chained-to-her-rivalry-with-taylor-swift/517461/\">The Maddening Media Obsession With Female Feuds, Katy Perry Edition</a>—<em>Spencer Kornhaber discusses the problems with how the singer’s supposed rivalry with Taylor Swift is portrayed.</em></p>\n\n<p><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/frank-ocean-calvin-harris-migos-slide-review-song-of-summer/517707/\">Frank Ocean’s Surprising Slide Back to Pop</a>—<em>Spencer Kornhaber listens to the enigmatic singer’s new collaboration with Calvin Harris and Migos. </em></p>\n\n<hr />\n<figure><img alt=\"\" height=\"410\" src=\"https://cdn.theatlantic.com/assets/media/img/posts/2017/02/lead_large-5/f36d786d0.jpg\" width=\"615\" />\n<figcaption class=\"credit\">Eric Miller / Reuters</figcaption>\n</figure>\n\n<p><strong>Media</strong></p>\n\n<p><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/scenes-from-the-mall-of-america/517503/\">Scenes From the Mall of America</a>—<em>Megan Garber weighs in on the massive shopping center’s announcement of a writing residency in honor of its 25th anniversary.</em></p>\n\n<p><a href=\"https://www.theatlantic.com/entertainment/archive/2017/02/why-are-celebrities-known-as-stars/517674/\">Why Are They ‘Stars’?</a>—<em>Megan Garber connects the history of why celebrities are considered celestial to Shakespeare, Chaucer, and movie cameras.</em></p>\n" author: The Editors title_type: published: 2017-02-24 23:11:42.000000000 Z summary: A roundup of our recent writing on arts and entertainment links: - https://www.theatlantic.com/entertainment/archive/2017/02/the-atantics-week-in-culture/517704/ title: "<em>The Atantic</em>'s Week in Culture" carlessian_info: news_filer_version: 2 newspaper: US general30 macro_region: USA rss_fields: - entry_id - content - author - title_type - published - summary - links - title - categories categories: - Culture url: https://www.theatlantic.com/entertainment/archive/2017/02/the-atantics-week-in-culture/517704/

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