Culture

A friend recently found himself trapped on a plane next to a young woman reading a Kindle bedecked with stickers of dragons and pointy-eared, hunky men. The font size was so large it was impossible not to see the sexually explicit text. He observed, “I was reading The Lord of the Rings; her book was more along the lines of I’m the Lord of Your Ring. I’ve never felt so uncomfortable.” Welcome to the cultural phenomenon of romantasy — a newly mainstreamed trend fueled by TikTok, or rather BookTok. It’s a shame there isn’t room in the portmanteau name for “sex,” which is a crucial ingredient in the genre, made clearer in the alternative informal term “fairy porn.

Kinda Pregnant In theaters February 5 Amy Schumer stars as Lainy, a woman who dons a prosthetic pregnant belly when she grows envious of her best friend’s maternal glow. Once inside the secret world of mommies, Lainy learns how far she will go to stay close to her friends while being pulled toward a new love — Will Forte, who assures Lainy that she’s the least pregnant person he’s ever dated. Striking the balance of irreverence and heart Schumer is known for, Kinda Pregnant is buoyed by an accomplished comedic cast and backing from Adam Sandler’s Happy Madison Productions.

Slow Horses, season 4 Apple TV+, September 4 Apple TV+’s adaptations of Mick Herron’s excellent espionage novels, led by Gary Oldman on magnificent form as the belching, flatulent, brilliant Jackson Lamb, have quietly become the streaming service’s MVP, and their strong showing in this year’s Emmy nominations has reinforced the company’s continued faith in the unmissable series. This fourth installment, based on Herron’s novel Spook Street, guest stars the ever-excellent Hugo Weaving as a mysterious interloper with a close personal connection to Jack Lowden’s bratty Bond-in-training River Cartwright. Expect the usual mixture of big laughs, shocking twists and high-octane action scenes.

The Instigators In theaters August 2, Apple TV+ August 9 Boston crime movies are back! Starring Matt Damon and Casey Affleck — and produced by Ben Affleck, of course — The Instigators is a heist comedy-thriller about a robbery that goes wrong, causing Damon’s therapist to get dragged along for the ride. Affleck/Damon productions have consistently been solid — from the ultimate Boston crime movie The Town to last year’s Jordan 1 sneaker-origin story Air — and this is directed by one of the best working action directors around, Doug Liman, who was responsible for The Bourne Identity, Mr. & Mrs. Smith, Edge of Tomorrow and (the underrated) American Made.

The Bear, season three Hulu, June 27 America loves a misanthropic, depressive chef. How else would we know the chef is a real artist? The Bear returns for its third season with the trailer promising lots of arguing, screw-ups, failures and everything else you’ve come to expect from the beloved show. We’re not sure why you would take a perfectly good beef-sandwich shop in Chicago and try to turn it into a Michelin-starred restaurant, but we hope Carmy and the gang give us some sort of good reason. — Zack Christenson Jeremy Allen White in The Bear Wimbledon ESPN and ABC, July 1 You know summer has arrived when the brilliant green grass of the All-England Lawn Tennis and Croquet Club lights up your screens.

The Fall Guy In theaters now Ryan Gosling’s career is rather bizarre if you think about it, from drippy romcom protagonist in The Notebook to brooding car noir hero in Drive to laughable failure in The Nice Guys to musical star in La La Land and Barbie. Now he takes a stab at renewing his hardass ways in The Fall Guy, an adaptation of Lee Majors’s 1980s series which pairs him with Emily Blunt and is, in a way, an homage to the careers of “stars who do their own stunts” even if Gosling does not do so himself. There’s even a stunt show planned for Universal Studios’ Hollywood theme park based on the movie, prior to its release.

Call it a prejudice if you like. Living in Japan in the 1970s, I had a slight aversion to a particular type of westerner. He — for it was mostly a he — usually lived in Kyoto, sometimes wore a kimono and liked to sit in ancient temples chasing after that presumably blissful moment of enlightenment, awakening, satori, or whatever one wishes to call it. These seekers were less interested in Japan as a society of human beings. They wanted to float in higher spheres. As Christopher Harding explains in The Light of Asia, the Zen adepts, the Buddhist chanters, the rock-garden worshippers, the kimonoed fools (in my no doubt blinkered eyes) were part of a long western tradition.

I was just leaving France when I got the news that that the Czech novelist Milan Kundera had died, aged ninety-four. He had emigrated to Paris in 1975, when he was forty-six, a refugee from the crackdown in Prague following the Russian obliteration of the Prague Spring in 1968. He died in his adopted city on July 11, full of honors but also, or so it seems to me, largely forgotten.  I had not been following Kundera’s work for many years. But there was a moment, in the 1980s, when he was the talk of the posh, intellectual literary town. I wrote a longish essay about him for the New Criterion in 1986. I draw on that work here.  Kundera was in his late thirties when he published his first novel, The Joke, in Prague in 1967.