Author: The New Yorker

In a time of crisis, the Academy is offering a bulwark of humane consensus, though its blind spots remain.

The true cost of the immigration policy can be measured in the generations of Chinese Americans who were never born.

The scholar recommends four inventive books that offer instruction on how to create meaning, beauty, and intimacy amid fragility and social exclusion.

Our editors and critics review notable new fiction, nonfiction, and poetry.

The L.A. wildfires have resurfaced an old question: Are times too dark for a glitzy awards ceremony?

Lawmakers attempting to regulate children’s access to social media must decide whether bans or warning labels are the optimal route for keeping kids safe.

In “Open Socrates,” the philosopher Agnes Callard reminds us how thinking should feel.

Thousands of MAGA supporters poured into the Capital One Arena as the new Administration took shape in ballrooms across the city.

Highlights include a spare reworking of the 1927 musical “Show Boat” and a surprisingly touching new piece by the shock connoisseur Ann Liv Young.

On Inauguration Day, the forty-seventh President cast himself as an especially favored vessel of the Almighty.

Dinner parties in the capital have long been a path to power, but Perle Mesta had her eye on a different prize.

“American Oasis,” “Before Elvis,” “Another Man in the Street,” and “Going Home.”

I read and reread Philip Roth’s book to try to understand the present, to make sense of what may happen.

From the pianoforte to the smartphone, each wave of tech has sparked fears of brain rot. But the problem isn’t our ability to focus—it’s what we’re focussing on.

Paradise turns to ashes.

At the Otter, the chef behind Empellón offers a fish-forward menu that performs tricks of the tongue.

Games are often blamed for gun violence, but the parents of one victim believe the form can raise awareness instead.

Han Youngsoo chronicled the postwar transformation of mid-century Seoul, complicating popular depictions of that era as one solely of deprivation and hardship.

If Kamala Harris had won.

On a competition show made by the YouTube sensation MrBeast, the people are faceless and the challenges are vicious.

The late director’s unique vision and the love that his persona inspires make it easy to forget how winding his path to greatness was.

The sci-fi series “Silo” is the latest in a string of popular post-apocalyptic dramas with an increasingly uncanny resonance.

Doing his own camerawork, the director gleefully enriches the haunted-house genre with a simple but ingenious device.

The author discusses why she has a dumbphone, how to “meet reverses boldly,” and her new novel, “Gliff.”

Plus: the sadistic “Saw: The Musical”; Michael Roemer’s end-of-life documentary; and Rachel Syme on adult classes on offer in N.Y.C.

The author of “The Second Coming” and “City on Fire” selects recommendations from the great American writer’s sprawling body of work.

The reportage that thrived in the late twenty-tens cannot break through on today’s volatile Internet, where information is misinformation and victims are offenders.

The director has long shunned the spotlight, but his work conveys the force of a mighty personality. A new biography offers a rare look at his life and work.

The songwriter and performer on her journey from pop music to theatre, with a live performance of “Gravity.”

A food critic’s favorite menu items from a year of dining out.

In the latest revival of Arthur Laurents, Stephen Sondheim, and Jule Styne’s iconic musical, George C. Wolfe humanizes a famously monstrous stage mother.

This year’s standout productions ran the gamut from outrageously fabulous to quasi-religious in feeling.

When it comes to the Italian holiday loaf, there’s magnificence and there’s stultifying disappointment, with little in between.

The year’s breakthrough music moments included a Taylor Swift comeback, an unexpected Internet-rap collab, and an absurdist sample of “Somewhere Over the Rainbow.”

In an otherwise bleak year for television, a few truly great entries shone all the more brightly.

The musicians possess a powerful collective personality, creating an organic mass of sound.

Andrew Tarlow is known for Brooklyn spots with low lighting, tattooed servers, and hunks of meat. Now, across the East River for the first time, he shifts the vibe toward stately elegance.

It’s possible that I listened to more music this year than any other. I lost interest in podcasts. I lost interest in silence. There was too much extraordinary work out there.

The eighty-minute suite “All Life Long” is slow, hushed, and gnawingly beautiful, but it does not supply conventional musical comforts.

Carson pioneered a new style of late-night hosting—relaxed, improvisatory, risk-averse, and inscrutable.