Author: The New Yorker

“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.

But who’s playing whom?

Satirizing the superhero-blockbuster business, HBO’s new comedy finds mostly easy targets, but eventually something more.

The audience gets what it paid for in both the musical adaptation of the 1992 film, with Megan Hilty and Jennifer Simard, and a new show about the treadmill of life.

Also: Interpol’s “Antics” turns twenty, Kyle Abraham fills Drill Hall, new work by the photographer Jeff Wall, and more.

In “My Good Bright Wolf,” Sarah Moss recounts a dangerous romance with self-deprivation.

Asher Wertheimer was a Jewish tycoon who asked John Singer Sargent to paint him. The results are strange, slippery—and some of the artist’s best work.

Endless debate over whether the ending of the composer’s Fifth Symphony represents a capitulation to Soviet demands or a secret dissent obscures a more tantalizing possibility.

“I find it all very difficult,” the late German-born British artist said, and few painters have done as much to show the struggle of creative endeavor.

With a musical return to Oz and a bloody epic of ancient Rome, Hollywood studios double down on blockbuster spectacle.

On the occasion of his new memoir, the “Dune” actor reflects on some of his formative reading experiences.

From the “cozy gaming” trend to a new generation of A.I. companions, our devices are trying to swathe us in a digital and physical cocoon.

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

How did the U.S. government become involved in “adjudicating Indianness”?

The unique history of El Museo has allowed it to be at the vanguard of what is now more widely accepted as the purpose of museums.

Technology is dramatically changing political speech, rewarding quantity and variety over the neat messages of the past.

A new exhibition celebrates the work of the late cartoonist Edward Koren.

“Women’s Hotel,” “Under the Eye of the Big Bird,” “By the Fire We Carry,” and “Alexander von Humboldt.”

From the French Revolution to January 6th, crowds have been heroized and vilified. Now they’re a field of study.

Sudden glimpses of urban artistry.

A new lounge above Eleven Madison Park offers refined plant-based bites and beverages while leaving fine-dining social hierarchies intact.

Peter van Agtmael’s images of war and domestic strife are arresting and almost cinematically spare, but it is the careful narrative arc of his new book, “Look at the U.S.A.,” that deepens the viewer’s experience.

With in-depth interviews and startling reënactments, the director Mosco Boucault details the anguish and the heroism of a mainly Jewish group of French Resistance fighters.

The playwright Branden Jacobs-Jenkins and the performance artist Alina Troyano summon downtown’s wild spirit, and Elevator Repair Service revives its signature hit.

In the cultural wasteland of the Reagan era, they showed that a band could break through to mass appeal without being cheesy, or nostalgic, or playing hair metal.

Gold, a celebrated Shakespeare director, designed his theatre production for a young audience. “It’s loud. I’m willing to hear the complaints, because I have risk tolerance,” he said.

The performances of Karla Sofía Gascón and Zoe Saldaña bring energy and emotion, but the movie never gets beyond its splashy surfaces.

The Vatican’s Synod on Synodality was nothing like papal gatherings of cinematic lore, but it clearly reflects Francis’s view of what the Church should be.

Bridges, a chic new restaurant from a former Estela chef, offers indulgence through restraint, with eye-opening results.

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

In Jesse Eisenberg’s film, a shticky bromance obscures a thoughtful attempt to probe the legacy of the Holocaust.

Celebrating the composer’s hundred-and-fiftieth birthday, at a festival in Bloomington, Indiana.

Our restaurant critic offers advice on Martini drinking, cutting through restaurant hype, and staying on servers’ good sides.

On the new album “Evergreen,” the artist Sophie Allison makes sadness come alive and transform.

At Sendo, a Tokyo-style sushi-ya in midtown, the food’s level of sophistication well surpasses its price point.

You used to be able to make a living playing in a band. A new book, “Band People,” charts how that changed.

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.

In his work with the Daily Wire and in a new movie, the conservative podcaster and activist tries to expose the hypocrisies of the left.