New York Times Artsसत्यापित खाता

After eight years away, everyone's favorite serial killer, Dexter Morgan, returns to Showtime this weekend. Here’s a refresher on where things left off (and on who all was dead).https://nyti.ms/3mQADm6 

In “Don’t Look Up,” Meryl Streep plays President Orlean, a fictional (and not especially competent) U.S. commander in chief very focused on her approval ratings. Here’s how she prepared for the apocalyptic satire.https://nyti.ms/3CPpyHi 

“The first thing to die in ‘Dexter: New Blood’ is irony. The murder weapon is the subtitle,” our critic @poniewozik says in his review of Showtime’s revival of the serial-killer drama.https://nyti.ms/3H6Cmfd 

The playwright Will Eno puts his own stamp on Ibsen’s version of “Peer Gynt” in “Gnit,” portraying the protagonist as a listless young man on a search for himself, @mayabphillips writes.https://nyti.ms/3o8uMYt 

Eight people were killed at the Astroworld music festival. Here is what we know about some of the lives that were lost.https://nyti.ms/3mPZKFy 

Hunter Biden's paintings are drawing visitors to a gallery in SoHo, and also criticism from those who worry that purchasers might be hoping to buy not just art, but access.https://nyti.ms/3ETKu0B 

Lin-Manuel Miranda’s new film adaptation of “Tick, Tick … Boom!” is the musical version of the “Rent” creator Jonathan Larson’s musical about writing a musical. This guide unpacks the many layers.https://nyti.ms/3k5YXhZ 

Robert Plant and Alison Krauss’s unlikely partnership yielded a huge hit in the 2007 album “Raising Sand.” After a 14-year pause, they’re back with a new LP of reimagined music.https://nyti.ms/3CQofbf 

“It wasn’t some tremendous burden,” Michael C. Hall said of the way “Dexter” ended. “But I had been preoccupied with the unfinished-business feelings.” Hall has put that burden down. “Dexter: New Blood,” a 10-episode series, arrives Sunday on Showtime.https://nyti.ms/3kdEgR9 

Benedict Cumberbatch is earning high praise for his performance in Jane Campion’s new psychodrama “The Power of the Dog.” Here’s what it took for the actor to become a seething alpha-male cowboy.https://nyti.ms/3GV2Obr 

“We are all, in fact, ill-fated. How to go on then, and why?” @AlexandraJacobs reviews the book “On Consolation.”https://nyti.ms/3wnZW1S 

This week “Saturday Night Live” featured appearances by Dionne Warwick and Tracy Morgan.https://nyti.ms/3BS4Qp3 

66 years later, Alice Childress’s play “Trouble in Mind” remains just as relevant. The play, which is about what it’s like to be Black in the theater industry, is now on Broadway in a Roundabout Theater Company production.https://nyti.ms/3EMjYGk 

Aunjanue Ellis on winning the role of Oracene Price in "King Richard": "There were probably other candidates that they were looking at, that they were going to go to originally. I’m used to that. I just bided my time."https://nyti.ms/2YakOgi 

Kenneth Shirley describes Indigenous Enterprise, his dance troupe, as “Native American with a little bit of hip-hop.” “The influence of hip-hop is discernible in footwork and bounce, but most of all in attitude,” our critic writes.https://nyti.ms/3q7BTmN 

The Indigenous Canadian director Tracey Deer was only 12 when a white mob hurled insults and stones at vehicles filled with Mohawk women, children and the elderly during the 1990 Oka crisis. Now she's channeled her anger and pain into the drama “Beans.”https://nyti.ms/3GZOgqP 

Wayne Shorter had a long-simmering dream to produce a full opera, eventually landing on an update of the ancient Greek myth of Iphigenia. When he mentioned it to his mentee, Esperanza Spalding, she felt a “stirring in my spirit,” she said.https://nyti.ms/3bNuKzv 

Spicy cashew dressing at Sweetgreen, Kanye West’s sneakers, déjà vu from “Grand Theft Auto”: The comedian-producer Neal Brennan discusses his top 10 cultural picks.https://nyti.ms/3qdEz2e 

A gangster shoot-em-up, a post-apocalyptic zombie/cannibal thriller and a World War II film are among this month’s picks for action movies available to stream.https://nyti.ms/3GXRKKq 

Director Pablo Larraín describes “Spencer” as “a fable from a true tragedy.” If it’s a fable, “it’s a political fable, an allegory of powerlessness, revolt and liberation,” @aoscott writes.https://nyti.ms/3EQq3BG