Since Francis stripped Burke’s duties as his personal representative to the Order of Malta, what are his options for dealing with this trouble-making cardinal?
In his new book, Kenneth Woodward opines on his journalistic career covering the ideas and personalities that drove not only religion, but the culture at large.
Humility for journalists means knowing when we don’t know. Empathy requires seeing the world through many lenses. Those basic journalistic values got lost in 2016.
Does pop music matter really? Is it “only rock and roll” or “all we have”? ‘Love for Sale’ misses out on a key opportunity to explore the deep questions.
One week, Congress found the Saudis deserving of U.S. aid no matter what they were accused of doing in Yemen. The next, they were presumed responsible for 9/11.
Whomever the Jesuits discern to be their next Father General, they should consider his skills in dealing with conflict. Especially with higher Church authority.
Comedies with superficial characters aren’t necessarily bad, but ‘Café Society’ stays predictable. ‘Florence Foster Jenkins,’ however, makes room for pathos.
Online media in the wake of tragedy could be doing something good. It may be a modern means of activating an ancient genre: a particular subset of human sorrow.
‘Weiner’ sets out to film Anthony Weiner’s unlikely political comeback, as he sought to put the disgrace behind him with a run for mayor of New York in 2013.
Donald Trump has played on the fragility of our media system, which can’t get enough of him, and on a pervasive pain among those cast aside by our economy.
How media shunned Eastern Orthodox leaders visiting refugees with the pope; Which title Francis prefers; Why U.S. bishops fired Catholic News Service editor-in-chief
How and why Bernie Sanders was invited to the Vatican; Cardinal Burke’s backlash and the pope’s “bodies”; the important difference between “the Synod” and “synods.”
Barry Crimmins is a funny, frightening man. His humor is so sharp it feels almost dangerous to laugh. There’s no telling when it could turn, or in what direction.
Everything about “Horace and Pete”—its seriocomic ambivalence, performance aesthetic, production values—seems calculated to knock viewers out of their comfort zone.
“Downton Abbey” has been vivid, suspenseful, and often funny, but it has always remained a soap opera with pretentions, a show obsessed with the passage of time.
