Author: The New Yorker

The famed twentieth-century photojournalist Weegee was just as fascinated with tragedy—fires, car crashes, murders—as he was with our desire to gawk.

A new documentary about the band’s early days offers a rich backdrop to an unlikely performance of a star on the rise.

Oscar who? The film critic, a true believer in the art of cinema, picks the winners of the most coveted award of all: the Brodys.

Gorey said, “I write about everyday life.” His work reminds us that death is a major fact of existence.

In the third season of Mike White’s HBO satire of the rich and terrible, a now familiar formula yields diminishing returns.

Also: the psychodramas of Father John Misty, a humble “Henry IV,” the return of the Flamenco Festival, and more.

Zeinabu irene Davis’s 1999 feature, a century-spanning vision of two deaf Black women in Chicago, is among the greatest independent films but has rarely been screened.

The “Pachinko” author recommends four novels that present character studies of bold women making their way in changing times.

Alexander Karp, Palantir’s philosopher-C.E.O., thinks that a restored military-industrial complex can make our country great again.

The first time around, the President’s bad deeds galvanized people on social media. This time, they’re looking to “flush out their brains.”

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

The Honolulu-based franchise specializes in simple meals that stick to the ribs.

The microphotographic innovator Wilson Bentley believed that “every crystal was a masterpiece of design.”

Scorned by critics on its release, in 1999, Alan Rudolph’s Kurt Vonnegut adaptation now emerges as an inspired comic extravaganza, whose very originality was its undoing.

On his third studio album, “Horror,” the genre-spanning musician deconstructs old fears and finds ways to survive new ones.

Also: Rachel Syme on shopping like it’s 1925, and a New Yorker anniversary quiz.

Which father knows best?

Leah Koch, a co-owner of the romance bookstore, describes how the genre has changed and what makes it special.

Masha Karpoukhina’s documentary follows a soundscape ecologist who lost everything in a California wildfire.

Musk seeks not only to dismantle the federal government but to install his own technological vision of the future at its heart—techno-fascism by chatbot.

Chantal Akerman’s rarely screened, dance-like drama of lovers’ encounters, separations, and reunions is newly available to stream.

Selva Almada’s work is central to the battle to protect hard-won victories that President Javier Milei has vowed to overturn.

In her show at 15 Orient, the sculptor shows us how life shapes and reshapes us.

Three new films stand out at a festival in search of a new home.

The best word to describe the rapper’s Super Bowl halftime show is “existential.”

After wildfires displaced thousands of Angelenos, a patchwork of cooks, restaurateurs, and volunteers have operated something like a citywide meal train.

When Lillian Ross profiled the celebrated novelist, the world saw ridicule and ruin. But letters between the reporter and her subject reveal something far more complicated.

“Land Power,” “After Lives,” “Helen of Troy, 1993,” and “The Riveter.”

An iconic Brooklyn seafood spot is back, after a fashion.

The hectic medical drama, now streaming on Max, is a throwback to a different era of television—and a counterintuitive comfort watch.

At a cozy new restaurant inspired by the South of France, humble ingredients are lavished with respect, butter, and time.

Mohammed Amer’s unlikely comedy about a family of Palestinian refugees in Houston returns for a season that’s sillier, sadder, and timelier than ever.

In two new shows, the Oscar-nominated, Tony Award-winning star and F. Murray Abraham play against their younger selves.

Monday Evening Concerts has showcased living composers for eight decades.

The Pulitzer Prize-winning play, set in an E.S.L. classroom in Iran, examines the internal displacements of learning a language.

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.

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

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

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.”