Books & Culture
The New Yorker Interview
Michael Imperioli Knows Art Can’t Save Us
The “White Lotus” and “Sopranos” star discusses his formative first encounter with Martin Scorsese, his philosophy of acting, and the climate protest that just disrupted his Broadway début.
By Zach Helfand
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The Weekend Essay
Life in a Luxury Hotel for New Moms and Babies
My month of rest, relaxation, and regret at a Taiwanese postpartum-care center.
By Clarissa Wei
The New Yorker Interview
Kelly Link Is Committed to the Fantastic
The MacArthur-winning author on the worthwhile frivolity of the fantasy genre, how magic is and is not like a credit card, and why she hates to write but does it anyway.
By Katy Waldman
The New Yorker Interview
Alan Cumming Wants Us All to Let Go
The actor, author, cabaret performer, and host of the hit reality series “The Traitors” says, “I think American people, especially, are slightly ashamed of abandon.”
By Rachel Syme
Books
Under Review
Can We Get Kids Off Smartphones?
We know that social media is bad for young people, who need more time—and freedom—offline. But the collective will to fix this problem is hard to find.
By Jessica Winter
Under Review
The Best Books We’ve Read in 2024 So Far
Our editors and critics review notable new fiction, nonfiction, and poetry.
By The New Yorker
Under Review
Why We Can’t Stop Arguing About Whether Trump Is a Fascist
In a new book, “Did it Happen Here?,” scholars debate what the F-word conceals and what it reveals.
By Andrew Marantz
Page-Turner
Percival Everett’s Philosophical Reply to “Huckleberry Finn”
In his new novel, “James,” Everett explores how an emblem of American slavery can write himself into being.
By Lauren Michele Jackson
Movies
The Front Row
Med Hondo’s Vital Political Cinema Comes to New York
The Mauritanian filmmaker, long active in France, reveals the legacy of colonialism in society at large and in the art of movies.
By Richard Brody
The Front Row
The Best Bio-Pics Ever Made
The genre presents very particular artistic challenges, but here are thirty-three films that transcend them.
By Richard Brody
Notes on Hollywood
An Oscar-Night Diary: The Kenergy Was Palpable
“Barbie” received only one award, but the ceremony—and even the after-parties—brimmed with a simple ebullience.
By Michael Schulman
The Front Row
The Oscars Are More Barbie Than They’ll Admit
The show wasn’t bad, but a shortsighted Academy was hard on this year’s best movies.
By Richard Brody
Food
Tables for Two
Exquisite Beach Vibes at Quique Crudo
A seafood-focussed counter from the owners of Casa Enrique—the first Mexican restaurant in the city to earn a Michelin star—opens in the West Village.
By Shauna Lyon
On and Off the Menu
Why New York Restaurants Are Going Members-Only
Ultra-exclusive places, like Rao’s and the Polo Bar, once seemed like rarities in the city’s dining scene. Now clubbiness is becoming a norm.
By Hannah Goldfield
The Food Scene
Café Carmellini Is Fine Dining That Knows a Good Time
Andrew Carmellini’s latest venture is a serious, sophisticated restaurant, with white linens on the tables and bow-tied service captains, but it never sacrifices a sense of fun.
By Helen Rosner
The Food Scene
Missy Robbins’s Lowest Key Pasta Paradiso
Robbins’s chic flagship restaurant Lilia is perpetually booked. Her follow-up, Misi, is stuck in a charmless space. With her latest place, Misipasta, I feel like Goldilocks.
By Helen Rosner
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Photo Booth
A Begrudgingly Affectionate Portrait of the American Mall
“We’re all being manipulated in the mall,” the photographer Stephen DiRado says. But his photos elicit a certain nostalgia, almost in spite of themselves.
By Margaret Talbot
Television
On Television
“In the Know,” a Promising Satire of NPR That Never Quite Tunes In
The stop-motion comedy from Zach Woods, Brandon Gardner, and Mike Judge lacks the zingy acuity of its creators’ best work.
By Sarah Larson
On Television
The Dark Delights of a Millennial “Mr. and Mrs. Smith”
Donald Glover and Maya Erskine star as spies-for-hire posing as husband and wife—and embody their generation’s emotional and economic malaise.
By Inkoo Kang
On Television
The Horrifying and Humanistic Ending of “The Curse”
In its surreal final episode, the Showtime series reaches great new heights.
By Naomi Fry
On Television
Why Can’t We Quit “The Morning Show”?
Apple’s glossy experiment in prestige melodrama is utterly baffling—and must-watch TV.
By Inkoo Kang
The Theatre
The Theatre
Masterstroke Casting in “An Enemy of the People”
Jeremy Strong finds urgency and conversational menace in Ibsen’s 1882 drama, also with Michael Imperioli, in a new version by Amy Herzog, directed by Sam Gold.
By Vinson Cunningham
The Theatre
The Art of the Robocall
“Lennox Mutual,” a one-on-one immersive theatrical experience, raises questions about performance, A.I., and corporate culture.
By Kristen Roupenian
Comma Queen
A Musical for—and About—Grammar Sticklers
“The Angry Grammarian” asks whether two lovebirds can overcome differing opinions on the Oxford comma.
By Mary Norris
The Theatre
John Patrick Shanley Wrestles with God and Destiny
The playwright stages boxerly confrontations in a revival of “Doubt,” starring Liev Schreiber and Amy Ryan, and in the new show “Brooklyn Laundry,” with Cecily Strong.
By Vinson Cunningham
Music
Musical Events
The Escher Quartet and Igor Levit Test Musical Limits
The chamber ensemble played all six of Bartók’s string quartets, and the pianist played devilishly difficult transcriptions of symphonic scores by Mahler and Beethoven.
By Alex Ross
Pop Music
Ian Munsick Puts the Western Back in Country
He brought his cowboy hat and ranch experience to Nashville, where he sings about the Wyoming life he left behind.
By Kelefa Sanneh
Listening Booth
Ariana Grande Takes Romantic Inventory on “Eternal Sunshine”
The pop star’s latest album charts the longing that accompanies the end of a relationship, but she also can’t resist playing the role of plucky provocateur.
By Hanif Abdurraqib
Musical Events
How Arnold Schoenberg Changed Hollywood
He moved to California during the Nazi era, and his music—which ranged from the lushly melodic to the rigorously atonal—caught the ears of everyone from George Gershwin to James Dean.
By Alex Ross
More in Culture
The New Yorker Documentary
Flipping the Script on Trans Medical Encounters
Noah Schamus and Brit Fryer’s short film offers a vision of how physicians and trans patients can meet one another on equal footing.
Film by Noah Schamus and Brit Fryer
Text by Stef M. Shuster
Culture Desk
New York City Travel Posters Through the Decades
Images from a century past showcase colorful dreams of a magnetic metropolis.
By Nicholas D. Lowry
Books
When New York Made Baseball and Baseball Made New York
The rise of the sport as we know it was centered in Gotham, where big stadiums, heroic characters, and epic sportswriting once produced a pastime that bound a city together.
By Adam Gopnik
Books
Briefly Noted Book Reviews
“Ashoka,” “Pax Economica,” “Here in Avalon,” and “Bitter Water Opera.”
Books
You Say You Want a Revolution. Do You Know What You Mean by That?
Two new books, by Fareed Zakaria and Nathan Perl-Rosenthal, demonstrate the concept’s allure and perils.
By Gideon Lewis-Kraus
Cover Story
Mark Ulriksen’s “Standing Guard”
The artist depicts the tail-wagging occasion of the first signs of spring.
By Françoise Mouly
Art by Mark Ulriksen
Culture Desk
The Heartbreak of an English Football Team
The Netflix series “Sunderland ’Til I Die” serves as a thesis both for fandom and for the inevitability of its disappointments.
By Hanif Abdurraqib
The Current Cinema
The Form-Blurring Fury of “Do Not Expect Too Much from the End of the World”
Radu Jude’s TikTok-tinged movie can be breathtakingly funny, but the absurdity is rooted in a powerful sense of outrage.
By Justin Chang
Goings On
Peter Morgan’s “Patriots” Heads to Broadway
Also: The soft-rock palette of Arlo Parks, the tearjerker musical “The Notebook,” Eric Fischl’s paintings of bourgeois cocoons, and more.
The Art World
The Whitney Biennial’s Taste for Flesh
The long-running survey has its usual missteps, but several works shine with wit and insight about the human body.
By Jackson Arn