Author: The New Yorker

The smashed, fractured, and non-functional can frustrate us—and illuminate who we are.

The industry has long loved to tell stories about itself—but, in 2025, the self-satirizing has an air of crisis management.

Things I learned by embedding with the tourists: the Ramones loved Yoo-hoo, Peter Stuyvesant was uptight, and how to do “a quick Donald Trump dance.”

The city’s least self-conscious, Rupert Murdoch-owned daily newspaper sticks to its story, new information be damned, yet holds real clout in liberal New York.

A host of accounts by the magazine’s staffers covers a full century of its history, but the trove of recollection is fraught and jumbled.

Small moments that span a century.

The Manhattan restaurateur’s new memoir shows a canny instinct for the finer aspects of dining.

“Ghosts of Iron Mountain,” “Turning to Birds,” “The Imagined Life,” and “My Name Is Emilia del Valle.”

Most people accept the city’s chaos as a toll for an expansive life. It took me several decades to realize that I could go my own way.

The new season of Nathan Fielder’s HBO series takes a bold conceptual leap—and, with Sunday night’s episode, it went from an assemblage of stunts to a work of art.

At Kabawa, the chef Paul Carmichael gets scholarly without sacrificing the fun.

Or does he?

Much of what we see now is fake, and the reality we face is full of horrors. More and more of the world is slipping beyond my comprehension.

The mid-century publications didn’t need to announce themselves as gay, even if they had been able to. Their readers understood the necessity of balancing discretion and seduction.

The writer is known for her acerbic criticism of liberals. Is she one herself?

More than two decades in the making, Jia Zhangke’s mostly archival film embodies the sweeping transformations of modern China in its very construction.

Also: indie-rock legacy in “Pavements,” Jonathan Groff crooning Bobby Darin in “Just in Time,” the teeming embroideries of Madalena Santos Reinbolt, and more.

The band Pavement, big in the nineties and bigger in memory, returns to help celebrate themselves wryly in Alex Ross Perry’s loving, metafictional rock-bio-pic parody.

The author of “Leave the World Behind” and “Entitlement” discusses the merits of unpleasant characters.

Millions of American children were denied regular in-person instruction for more than a year after the virus emerged. What did we get right—and wrong?

The anonymous forum thrived when edgelord content wasn’t acceptable on more mainstream social media. Today, it can be found most anywhere.

Now that machines can think for us, we have to choose whether to be the passengers or pilots of our lives.

The classroom staple turns a hundred.

Christian Marclay’s addictive masterpiece, soon ending its run at moma, offers an escape from our time into time itself.

This elegantly passionate tale of long-stifled family conflicts is a thrilling showcase for its star, Catherine Deneuve.

Adam Guettel and Tina Landau’s 1996 musical about a trapped caver resurfaces on Broadway, and Shayok Misha Chowdhury and Mona Pirnot play metaphysical games.

The country singer, on her first headlining tour, plays achy-breaky songs about love and its failure to be respectfully reciprocated by various dudes.

He built his lovable persona not on the page but via pictures and improvised chat, the stuff of screens.

Laliko, in the West Village, finds memorable ways to bring the Eastern European country’s cuisine to the world.

Funding shifts at three of the largest philanthropic foundations have brought turbulence and uncertainty to the intricate New York support system for the performing arts.

This documentary examines the economic changes and managerial missteps that brought the city to the brink of bankruptcy in 1975 and the political creativity and enduring cost of the rescue.

A great number of Americans wish to optimize their diets—and their lives.

The series’ most exhilarating episode yet ended with the brutal murder of a beloved character. Where does the show go from here?

At Danny & Coop’s, the actor and director partners with a Philadelphia restaurateur to bring that city’s beloved sandwich to New Yorkers.

New productions of Shakespeare’s “Richard II,” Annie Ernaux’s “The Years,” Robert Icke’s “Manhunt,” Tennessee Williams’s “The Glass Menagerie,” and more.

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

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

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

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

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.