The Kentucky band’s sixth album is a mixture of their most successful elements, such as the nonchalant rock that propelled “Ain’t No Rest for the Wicked” into legendary status, and a bounty of newer indie pop elements fluid enough to appeal to a younger generation’s taste.
Baz Luhrmann’s vibrant ode to the Bronx in ’77, The Get Down, remains one of Netflix’s most hurtful cancellations, even eight years later.
Francis Ford Coppola doesn’t pull any punches with his latest white whale, with confounding and refreshing results. Our Megalopolis review:
There is a resurgence of younger acoustic-guitar soloists who are not only technically dazzling but they’re also putting new twists on an old tradition. Many of them were on display at this year’s Merlefest.
No matter how popular Sarah J. Maas’s ACOTAR series is, her often ignored Throne of Glass books are actually the better story.