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Roger and Chaz Ebert‘s wedding was held on July 18th, 1992. Here is a reprint of a blog posted by Chaz to commemorate it. HOW DO I LOVE THEE: SONNET 43: Elizabeth Barrett Browning How do I love thee? Let me count the ways….I love thee with the breath, smiles, tears, of all my life; and, if God choose, I shall but love thee better after death….

Fans of the book by Alice Kellen probably already know–Netflix’s “The Map of Longing” is more “The Fault in Our Stars” than “Bridgerton.” Yes, the Spanish series is adapted from an adult romance, but it brings a certain teenage melancholy, even as its characters are ostensibly in their 20s. So expect more earnest coming of age (think the driver’s test) and less randy fun (the sex is pretty tame, even if we do see more flesh than U.S. audiences are accustomed to).

There I was in the spotlight, alongside my daughter, Sonia, playing Blues harmonicas onstage in front of a lively crowd. Was this some sort of a surreal dream? It certainly felt like one in the moment. But this was, in fact, an actual event that occurred on a Friday morning earlier this month. It all began with a Chicago Sun-Times article by Neil Steinberg that I read about a Blues Camp for children at Columbia College. I thought surely that this was some sort of misprint.

Sheldon Candis’ well-intentioned but deeply frustrating “They Fight,” now on Disney+ and Hulu, opens with a close-up of one of the best actors of his generation: André Holland. The star of “The Knick,” “Moonlight,” and “High Flying Bird” is before a parole board, introducing us to a character who has already been knocked down to the mat, being counted out by life. He reveals that his older son has died, and that he was behind bars when it happened.

The liveliest gag of Carolina Cavalli’s sweet-natured yet increasingly serious “The Kidnapping of Arabella” arrives at its beginning. Unhappy that she has to endure a dull night amongst adults, the young, precocious Arabella (a wonderful Lucrezia Guglielmino) throws a mighty tantrum in order to not attend the celebration thrown in honor of her famous author dad, Orest D.

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In the 2020s, horror television has become a genre led and shaped by Black men. While the genre was overwhelmingly white in the 2000s and 2010s, with shows like “Supernatural” and “The Walking Dead” dominating the cultural sphere, the 2020s have given Black actors the space to lead this ever-expanding genre into a new era.

Will Ferrell went on a sports-comedy bender in the mid-2000s, and it was, for the most part, a thing of stupid beauty. It kicked off with the unhinged and funny “Kicking and Screaming” (2005) and peaked with the hilarious back-to-back monster hits “Talladega Nights” (2006) and “Blades of Glory” (2007), before the sluggish and uninspired “Semi-Pro” (2008) killed the streak. Ferrel’s reign as the lumpy and clueless anti-Costner of athlete/coach cinema had come to an end.

Some lives become so woven into the fabric of our culture that we experience their influence long before we ever learn their name. For generations of Black Americans, George E. Johnson, Sr., was one of those people. I am one of the privileged many to have called him a friend. Founder of the Johnson Products Company with his late wife Joan, and one of the great architects of Black enterprise in America, George passed away on July 6th at the age of 99.