Author: The New Yorker

Robert Eggers’s take expands significantly on the 1922 classic—and makes a pivotal change, with sickening implications.

Peter Gelb thinks “experimental” music leads to dwindling audiences, but performances around the country suggest otherwise.

In “Dear Lord, Make Me Beautiful,” Abraham offers a deeply personal portrait of his depressed inner state, set against the splendor of the world around him.

The Keira Knightley- and Ben Whishaw-led Netflix series eventually snares its protagonists in a traditional espionage plot—but it’s most interested in their friendship.

He may also run it through ChatGPT, just to polish it up.

The magical blur of New Year’s Eve.

The history of recorded music is now at our fingertips. But the streamer’s algorithmic skill at giving us what we like may keep us from what we’ll love.

“Giant Love,” “Anima,” “Playworld,” and “Havoc.”

Our basic sense of right and wrong appears to be the product of blind evolution. The hard question is how unsettling that should be.

The actress is touring a one-woman show about how animals express themselves. She’s also getting Oscar buzz for “Conclave,” a film in which she hardly speaks.

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.

The relationship at the heart of a new erotic thriller, starring Nicole Kidman, doesn’t explode power struggles; it exists within them.

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

In his latest film, the director Brady Corbet depicts the fate of a brilliant Hungarian architect, who lands in the United States after surviving Buchenwald.

Also: A private-school meltdown in “Eureka Day,” jam rock comes to town, Richard Brody reviews “Babygirl” and “A Complete Unknown,” and more.

Timothée Chalamet’s performance is a remarkable act of mimicry that reveals little of the real Bob Dylan.

The Islamic Republic is weaker—on multiple fronts—than it’s been in nearly half a century.

With her writing for The New Yorker, Croce put dance criticism and dance itself on the cultural map.

Across culture and politics, 2024 was a year of great expectations followed by disastrous misses. What space might these upsets open up in their wake?

The Oscar-nominated filmmaker discusses finding the proper perspective for depicting the characters of his latest film adaptation.

The “Challengers” and “Queer” director discusses some books about his longtime preoccupation: the codes and customs of the rich.

The year’s strongest films offered thrilling affirmation of cinema as a global medium.

With projects like “IMG_0001,” an online compendium of YouTube home videos, Riley Walz is calling attention to the hidden deposits of personal information that power our digital lives.

Our parasocial dismay has become confused with social critique.

Our overstuffed suitcases burden us more than we realize.

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.”

Two scathing new productions satisfy our hunger for dysfunction-driven entertainment.

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.

Maggie Shannon’s black-and-white images of childbirth in the COVID era capture the awe-inspiring, quotidian experience of turning one person into two.

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.

As the city has welcomed more immigrants from Nigeria and neighboring countries, the local restaurant landscape has flourished.

“The Thanksgiving Play” is a comedy on an awkward subject, and a sendup of liberal good intentions. The staff writer Vinson Cunningham speaks with the playwright Larissa FastHorse.

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

Alfonso Cuarón’s foray into television is a work of such vacuity that even Cate Blanchett can’t salvage it.

In “Monsters: The Lyle and Erik Menendez Story,” the astoundingly prolific showrunner melds his modes as provocateur and clumsy social-justice warrior, with mixed results.