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Her long-awaited third album is smooth and beachy, searching for serenity in anxious times
A veteran rapper and a ubiquitous producer team up for an LP that organically pushes reggaeton forward
The rapper's second posthumous album has some dazzling moments, but ultimately feels like business as usual for an audience whose attention may be elsewhere
The adventurous pop star's fourth album is a fascinating, if at times overwrought, collaboration with Trent Reznor and Atticus Ross
The 'Sopranos' creator talks about his prequel film 'The Many Saints of Newark,' watching Michael Gandolfini play Tony, the series' legacy, and whether there's another 'Sopranos' story to come
The Apple TV+ surprise hit keeps its heartwarming win streak alive in its sophomore outing
As writer-director of this miniseries adaptation of the 1945 Nancy Mitford novel, the actress mines affairs of the heart with exuberance
Cecily Strong and Keegan-Micheal Key pay tribute to Broadway classics in the new Apple TV+ comedy from producer Lorne Michaels
In this Disney+ sequel series to the 1989 Tom Hanks movie, a four-legged crime-fighter steals the show
Director James Gunn’s stand-alone sequel delivers all the grime-splashed, blood-splattered grindhouse cosplay fans desire
The sly power of director Tom McCarthy’s style is to reveal how we often project our beliefs and biases based on assumptions
The Mouse House attempts to make a-movie-based-on-an-amusement-park-ride lightning strike twice — and gives you a journey in to the heart of "blah"-ness
A man interviews souls for the chance to be born in this metaphysical drama that asks: Who are we, before we are anything at all?
![<p>The daughter of an FBI agent who never allowed his kids to watch Mob movies growing up, Piazza had only just started bingeing <em>The Sopranos</em> when she got the audition to play Dickie Moltisanti’s wife (and Christopher Moltisanti’s mother), Joanne. By the time production began, she had seen enough to appreciate being part of a scene that recreates a story memorably told on the show. “On paper, [the scene] seems pretty dark and violent, yet when Alan [Taylor] would call cut, all of us on set could not stop laughing,” Piazza says. “Then and there, in real time, I was able to see the brilliance of David Chase’s writing. To quote Alan, I got to witness ‘this blend of intense drama with outrageous comedy’ firsthand, and that was the greatest gift ever.”</p>](https://www.rollingstone.com/wp-content/uploads/2021/09/10649_GABRIELLA_0051_RT.jpg?crop=3:2,smart&w=90)
