Erin and Hannah continue their “Talking about Talk” series by sorting out the role our families play in shaping our conversational style.

D. L. Mayfield recaps the season three premiere of The Good Place, “Everything Is Bonzer!”

Steve Norton and Emmanuel Noisette join Kevin this week to talk about The House with a Clock in Its Walls and White Boy Rick.

Thanos is a maniac in the sense used by G. K. Chesterton in his classic work Orthodoxy.

Choosing the iPhone SE was a way for me to practice the spiritual discipline of simplicity.

The beautiful thing about intentionality is that when you reach out, you just might find that people reach back.

With all the talking happening in the world today, you might think it best to keep your own thoughts and words to yourself. But would society be better served by silence?

Christians need to grow in both the knowledge that science can provide us about God’s world, as well as the reasons why science isn’t the only path to knowledge.

Wade and Kevin tell us what films are most worth getting excited about after reviewing Shane Black’s attempt to reboot the Predator franchise.

The exploration of good versus evil is one of the things that makes fantasy so important.

With lush arrangements featuring everything from piano to saxophone to perfectly paced percussion, the sonic experience of Child of My Sorrow is, well, fun.

Four episodes into the second season, The Bold Type wove religion and faith into its storyline.

Gen Z stumbled into social media blindly, but now we’re tasked with the responsibility of making sure that everything what happened to us doesn’t happen to our own kids.

Wade and Kevin dip into genre cinema to see what they find with Searching starring John Cho. Then the guys take a look at Sci-fi thriller Kin.

Balancing compassion with firmness, Khang leads her readers through the current morass of social media, and offers a thoughtful and constructive way forward for those who want to do more than seethe on the sidelines.

The real Disney World—the physical space we enter—is an idealized derivative of imagined pasts, futures, and fantasies of the actual world.