Author: The New Yorker

The more you explore your own past, the more you find there.

The chaos on Capitol Hill.

Fresh New York stagings of “The Threepenny Opera” and “Love Life” show off the composer’s daring and range.

“The Maverick’s Museum,” “The Franklin Stove,” “The Dream Hotel,” and “Hunchback.”

After Dobbs, fetal personhood has become the anti-abortion movement’s new objective.

Aimee Semple McPherson took to the radio to spread the Gospel, but her mysterious disappearance cast a shadow on her reputation.

The famous Venice Beach restaurant finally has an outpost in New York, but something is inevitably lost in the migration.

The actor and musician discusses how to “let it do you,” why almost dying was a gift, and his new album, “Slow Magic.”

On their new show, “Paul American,” the controversial influencers try to show a softer side.

Kate Friend set out to make a series about the places where the Virgin Mary is said to have appeared. Her pilgrimage took a curious turn.

Also: Whitney White in “Macbeth in Stride,” Ani DiFranco’s dramatic return, Takeshi Kitano’s inventive new film, and more.

In David Cronenberg’s film, billed as his most personal work, Vincent Cassel plays a grieving husband who has devised a novel way of never letting go.

What’s most striking about the show, now in its final season, is not its hysteria but its lack of conviction.

The parents who exploit their kids for clicks in Netflix’s “Bad Influence” want you to think they couldn’t have known better.

Dancing on the deck of the Titanic.

The scholar and literary critic examines a relationship dynamic that has inspired some of the most significant, and provocative, novels of the past three centuries.

Global technology companies are becoming table stakes in the struggle to establish whatever new world order is emerging.

Vauhini Vara consulted ChatGPT to help craft her new book, “Searches.” But the most moving sections are the ones she wrote herself.

Even a child is unlikely to be entertained by the film’s stream of Minecraft in-jokes—but fans of the director Jared Hess may find something else to excavate.

In “Filho,” the filmmaker Tomas Ponsteen, who was adopted from Brazil, grapples with whether or not to search for his biological mother.

The first piece Kael wrote for The New Yorker, “Movies on Television,” suggests why she remains a vexing influence in cinema more than a half century later.

Artificial intelligence could hollow out the media business—but it also has the power to enhance journalism.

Can the fifty-four-year-old arts hub weather the next four years?

Inkoo Kang reviews the FX/Hulu miniseries “Dying for Sex,” starring Michelle Williams as a woman seeking erotic fulfillment amid a terminal cancer diagnosis.

Peering at our relationship to technology.

The late political scientist enjoined readers to look for opposition to authoritarian states not in revolutionary vanguards but in acts of quiet disobedience.

In “Darkenbloom,” by the Austrian novelist Eva Menasse, the citizens of a European border town have secrets they’d prefer to forget.

Nine years after retiring his alter ego, Pat the Bunny, Patrick Schneeweis is ready to sing again.

In “Magazine Dreams,” the actor—who was found guilty of assault—plays a bodybuilder undone by the pressures of image-making. Majors has relied on the slippage between character and actor to facilitate his rebrand.

Kieran Culkin and Bob Odenkirk try to close the deal in David Mamet’s classic, and George Clooney stars in a timely portrait of media courage.

Dozens of audience members have lost consciousness watching Eline Arbo’s adaptation of “The Years.” The internet has come to believe that a conspiracy is afoot.

Two new dramas—from the Vietnamese director Truong Minh Quy, and from the Portuguese director Miguel Gomes—embark on hypnotic, mind-bending treks between past and present.

A new restaurant from the team behind Dame and Lord’s doesn’t so much enter the seafood conversation as elegantly commandeer it.

A splashy new production of the play may give a sense of where Shakespeare productions are heading.

Denzel Washington and Jake Gyllenhaal lack direction, and “The Trojans,” a spirited football-themed Iliad, heads for the end zone.

In the eighties, a Punjabi immigrant bought an old Italian restaurant in San Francisco. The dish he pioneered became a phenomenon.

Our food critic answers a reader’s question about alternatives to the beleaguered chicken egg.

In “Ludwig,” David Mitchell tries to solve mysteries—and the problem of being a person in the world.

Yunchan Lim tackles Bach’s Goldberg Variations, and Seong-Jin Cho presents a Ravel marathon.

The award-winning pianist on the relationship between music and politics—and on five books that hold them in tension.