The Social Reckoning is a sort-of sequel to 2010’s Best Picture-nominated landmark The Social Network, but it hardly “ever recalls the collisions of ego that made The Social Network so enduring,” writes critic Chris Klimek. His review:

In NAZA, filmmakers Yuval Abraham and Rachel Szor talk to members of the IDF about the modern methods they use. They “may not overwhelm the audience with horrifying imagery, but their dogged quest to document Israel’s recent tactics still has genuine power,” writes Alan Zilberman.

The District’s supply of housing vouchers has finally been replenished. Since April, caseworkers and residents have been without access to essential programs. While this may be a win, the new vouchers still don’t meet the city’s needs. City Paper contributor Madi Koesler has the story.

Music has found a home in ordinary houses in D.C. for decades. “There’s been a tradition of, by hook or by crook, looking for places to play,” says Ian MacKaye. Amid D.C.’s fast-changing landscape, local artists tell us about the past, present, and future of the area’s DIY music venues.

Today is the last day to take our reader survey and help shape the future of City Paper. Make your voice heard: What do we need to know, and what should we do more of? As a thank-you, you’ll be entered to win a $50 gift card to Lyman’s Tavern or a local bookstore of your choice.

Director Psalmayene 24 relocates Shakespeare’s Vienna to the Jim Crow South in Folger’s fresh production of Measure for Measure. “This treatment is as cohesive and compelling as any we’ve seen in a very long time,” writes critic D.R. Lewis.

In Hakawatis: Women of the Arabian Nights, five women join forces to tell stories of nefarious djinns, resourceful townsfolk, and death-defying escapes to save themselves from a bloodthirsty king. “Every piece of Hakawatis serves to embrace you in the warmth of a good story,” writes Jared Strange.

“A day of peace, love, justice, and music.” Bruce Springsteen and Foo Fighters headlined Tom Morello’s sold-out Power to the People festival benefiting HeadCount and VoteRiders. Contributor Christina Smart was in the crowd at Merriweather Post Pavilion to capture the scene:

Anne Hathaway and Dakota Johnson elevate Colleen Hoover’s trashy erotic thriller, but not too much. Critic Alan Zilberman reviews Verity, out now:

Tom Cruise plays a petrol-pushing oligarch in Alejandro González Iñárritu’s climate-collapse satire Digger. It’s “a bold, half-successful film” that critic Chris Klimek has decided to spoil for you in his review:

The Spirit are in third place heading into the final month of their season, local players get national team call-ups, and Trinity Rodman is giving away hats on Fan Appreciation Day. Here’s the latest Footie Report:

Somewhere Over the Border merges the American dream “with the bitter reality many of its seekers’ face,” writes critic Daniella Ignacio. Ultimately, Brian Quijada’s new musical “reminds us that choosing optimism is not naive or childlike—and joy can be defiant.”

“The familiarity of a bar experience, but with cannabis.” An alternative to D.C.’s bar scene is quietly growing in the city’s newly expanded medical cannabis market: weed lounges and summer gardens. Contributor LJ Dawson has the story.

Loosely inspired by the titular blues maven, August Wilson’s Ma Rainey’s Black Bottom uses the singer as a conduit to explore racial power structures, masculinity, and living through cultural shifts. Critic Stephanie Rudig reviews the current co-production from Round House and Olney Theatre.

Our Carryout Critic tries Norma’s Homestyle Breakfast, a no-frills spot just off of Minnesota Avenue NE that’s all about family and comfort—and pancakes the size of your head.

“A slap-happy staging with dazzling design elements and a standout cast, Some Like It Hot is a big ol’ song and dance,” writes critic Melissa Lin Sturges. Sturges reviews Olney Theatre Center’s production running through Nov. 7:

Swing Beat columnist Michael J. West writes that the 2026 D.C. Jazz Festival “was exponentially the best iteration of the DCJF since the pandemic.” “It was arguably the best in the festival’s 22-year history,” West writes.