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“Eden” Is a Messy Survival Thriller with Nietzschean Appeal
The new movie “Eden” features bursts of foul temper, wild sex, grisly violence, and nihilist ideology—a departure, you might say, for Ron…
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What The New Yorker Was Watching in 1925
Film criticism at The New Yorker started with a bang: the first movie reviewed in the first issue, dated February 21, 1925, was the German…
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The Celebrity Picture Book Boom
There are no guilty pleasures in childhood. It is only as an adult that I feel a certain sheepishness when recalling one of my favorite…
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The Creator of “Subway Takes” One Hundred Per Cent Disagrees
“Subway Takes” is the TikTok version of the “Tonight Show”: wholesome, relatable comedy, even if some episodes do acknowledge the…
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The Vibrant, Disappearing World of India’s Photo Studios
The Jagdish Photo Studio in Manori appeared to Ketaki Sheth as a kind of apparition. A photographer from Mumbai, Sheth owns a home in the…
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A Merry and Rambunctious “Twelfth Night” in Central Park
On the Saturday evening that I saw “Twelfth Night, or What You Will,” the sole production of the Public Theatre’s Shakespeare in the Park…
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IRL Brain Rot and the Lure of the Labubu
On a recent quiet weekday morning in Manhattan, I attempted to obtain a Labubu, the cutesy monster doll that has become the biggest…
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Sergio García Sánchez and Lola Moral’s “Artist in Training”
For many of us, spending time at the beach is one of the highlights of summer. The cover of the August 25, 2025, issue, by the artist…
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The Sloppy Joe Makes a Kicky Comeback
Few words in the English language have the onomatopoeic satisfaction of “slop.” Its opening consonants evoke sludge and slipperiness, the…
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Always Inadequate
In the late nineteen-sixties I lived for a year, with my then husband, in the middle of an apple orchard in northern New Mexico, some…
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“And Just Like That . . . ,” Carrie Bradshaw Bids an Unsatisfying Farewell
On Thursday, the third and final season of “And Just Like That . . . ,” the sequel series to “Sex and the City,” came to an unceremonious…
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Adam Friedland’s Comedy of Discomforts
When CBS announced the cancellation of “The Late Show with Stephen Colbert,” in July, a long-theorized concern came true: the late-night…
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Lorenzo Mattotti’s “Summer Rays”
For the cover of the August 18, 2025, issue, the artist Lorenzo Mattotti portrays the symphony of sight, sound, smell, and touch which…
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The One Race That Eric Adams Is Winning
By all appearances, the New York City mayoral race has narrowed to two viable contenders: Zohran Mamdani, a thirty-three-year-old…
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What It’s Like to Brainstorm with a Bot
Contrary to what many of my friends believe, good academics are always working—at least in the sense that when we’re stuck on a problem,…
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Nobody Wins on “Surrounded”
A couple of weeks ago, a clip from a YouTube video titled “1 Progressive vs 20 Far-Right Conservatives” started circulating on social…
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“Weapons,” “Harvest,” and the Shackles of the Horror Genre
Horror is an accursed genre. Because it promises to deliver a specific sensational effect, its stories are obliged to fit into preordained…
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“Thirty-Three,” by D. S. Waldman
Could be half my life, I said, could be all of it. Could be a third, Gabby said. Source link
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André Aciman on Reading—and Misreading—Emotions
Each of the novellas that make up André Aciman’s new book, “Room on the Sea,” picks apart the intricacies of how people comprehend the…
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There Is More to French Opera Than “Carmen” and “Faust”
Virginia Woolf, in her essay “The Lives of the Obscure,” savors the potential fascination of reading authors whom posterity has cast…
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Amy Sherald’s “Trans Forming Liberty”
The cover of the August 11, 2025, issue, by the artist Amy Sherald, is a portrait of the trans model and performance artist Arewà Basit.…
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Sterling K. Brown’s Upstanding Archetype
There’s a certain face that only Sterling K. Brown can make. It is yoked to no particular emotional state, and emerges just as often when…
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At the Edge of Life and Death in Ukraine
In June, 2023, a Russian Iskander ballistic missile blew apart Ria Lounge, a popular pizza restaurant (and one of the few that remained…
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The Ambitious Film Deconstructions of Stan Douglas
The enterprising Tiler Peck has been a leading dancer at New York City Ballet for more than fifteen years, played a neurotic ballerina on…