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There’s Freedom at Every Mind-Bending Corner
18. September 2026 (15:00)
The boss fights in Control Resonant feel less like reflex challenges than visual spectacles that play with space and performance. (New York Times)

Can Two Friends Complete a Game No One Has Ever Finished?
18. September 2026 (11:04)
(New York Times)

Five Free Movies to Stream Now
18. September 2026 (11:04)
From Jim Jarmsuch’s “Coffee and Cigarettes” to David Byrne’s “True Stories,” this month’s films illustrate the power of storytelling. (New York Times)

9 New Movies Our Critics Are Talking About This Week
18. September 2026 (11:03)
Whether you’re a casual moviegoer or an avid buff, our reviewers think these films are worth knowing about. (New York Times)

Is Audrey Hobert the Most Honest Voice in Pop?
18. September 2026 (11:03)
The rising pop star talks songwriting with her BFF Gracie Abrams, knowing when to log off and the difference between being weird (yes!) and awkward (no way). (New York Times)

‘The History of Concrete’: John Wilson’s New Movie Reviewed
18. September 2026 (11:02)
Yes, John Wilson’s weird but fun movie is nominally about the stuff sidewalks are made of, but as always with his work, it’s about so much more. (New York Times)

‘Babylon Berlin’ Recreates the Nazi Era, Keeping Swastikas Out of Sight
18. September 2026 (11:02)
(New York Times)

Kadeem Hardison Is Back as Dwayne Wayne on “A Different World”
18. September 2026 (11:01)
On “A Different World” he helped define an era. With a Netflix reboot, he helps pass the torch to a new generation. (New York Times)

Missy Mazzoli Debuts at the Metropolitan Opera With ‘Lincoln in the Bardo’
18. September 2026 (11:01)
Missy Mazzoli, whose “Lincoln in the Bardo” opens at the Metropolitan Opera this fall, writes politically urgent, musically eclectic works for a new generation of operagoers. (New York Times)

‘Spiritual Jazz’ Has Turned Cozy. John Coltrane Demanded More.
18. September 2026 (11:00)
The term has lately become synonymous with sonic serenity (and chic merch). But the saxophone great challenged listeners with radical honesty. (New York Times)