Lightning Rod Special’s ‘SUPERHOST’ imagines an Airbnb that isn’t as wonderful as it appears in a recording for distanced theatergoers in search of something creepy. Alaina Johns reviews.

In Philadelphia writer Courtney P. Hunter’s debut novel, 24 participants enter an experiment to determine who among them is human and who is an artificially intelligent robot. Kirsten Bowen reviews.

Philadelphia Artists’ Collective presents a sharp digital staging of ‘Trouble in Mind,’ a much-revered but underproduced exploration of racism in the theater. Cameron Kelsall reviews.

The building that gave birth to the legendary Philadelphia sound moves one step closer to becoming a historic landmark. Aaron M. Cohen talks with leaders of a grassroots preservation movement.

In a new exhibition at Arthur Ross Gallery, also available to experience digitally, four artists dig deep into contemporary consumption, historic tragedy, and cultural heritage, all with the stuff we discard. Pamela Forsythe reviews.

Stylishly produced and eminently thoughtful, ‘Lawrence Brownlee & Friends in Philadelphia’ sets a high bar for the Opera Philadelphia Channel, the company’s new streaming endeavor. Cameron Kelsall reviews.

‘Nomadland’ launched the 29th annual Philadelphia Film Festival's hybrid presentation, with a showing at the PFS Drive-in at the Navy Yard on October 23. Stephen Silver reviews.

Ruby Hamad’s debut book, ‘White Tears/Brown Scars: How White Feminism Betrays Women of Color,’ is a provocative and powerful account of white women’s role in white supremacy and the repercussions of their position on women of color. Kelly Conrad reviews.

A new all-digital theater group concludes its inaugural season with Pravin Wilkins’s ‘BARS,’ which follows characters on both sides of the justice system, asking who it really serves. Michele Zipkin reviews.

Do lyrics serve the music, or vice versa? Sometimes, in pop music, you don’t have to decide. Listen to Kile Smith explain 10 times that pop songs mixed music and words into pure art.