1,906 stories from The New Yorker
Culture preview: what’s coming this season in TV, movies, art, theatre, dance, and music.
The pop star’s appearance has prompted fans to speculate that she’s suffering from an eating disorder. How should we talk about famous women’s bodies?
Also: Misty Copeland’s Ballet Festival, the cogent poetry of Noname, the films of Otar Iosseliani, and more.
Her eponymous one-woman show was the seed of her Hollywood stardom, which a new revival now frames as the source of something matrilineal, passed down to two generations of Black actresses.
The N.B.A. championship was a win for Mayor Mamdani, but the city’s public-school kids, stuck taking their Regents exams as the ticker-tape parade thundered past their windows, weren’t s…
On “30 Rock,” she pioneered the kind of heteroskepticism that’s now more prevalent than ever. With “The Four Seasons,” she’s exploring a more hopeful counternarrative.
The show’s creator, Jacob Tierney, on his sonic past and what songs you might hear in the second season.
On a break from “Law & Order: S.V.U.,” the actress takes over for Daniel Radcliffe in “Every Brilliant Thing”—steps away from where her mother, Jayne Mansfield, had her Broadwa…
A new Off Broadway play and Shakespeare’s tragedy hinge on a universal anxiety: How well do you know your partner?
Samuel Barber’s 1958 opera was in disrepute for decades. A remarkable new production is the latest evidence of its rightful resurgence.
“Three six five,” a new collection of writing exercises by the writer Lucy Ives, belongs to a venerable tradition of goofy, esoteric, and avant-garde guides to unlocking the creative min…
“Your spirit of grace in the taffy machine’s chrome arms / At Morris’s Candy performing a sarabande / Unknitting and knitting again immaculate sweets.”
At the Morgan Library’s Mozart exhibition, Will Sharpe and Paul Bettany dish about playing classical music’s most notorious rivals, on Starz’s new “Amadeus” reboot.
Before ChatGPT, there was the Plot Robot, Auto-Beatnik, and a century’s worth of schemes for automating authorship.
“You will read this once this afternoon and not again until you’re in your fifties, but, by that time, I will have already died, alone in my apartment, totally nude, except for my ankle …
The composer’s work, featured at a recent festival in Germany, includes a howling denunciation of war crimes against children.
Boots Riley’s zany movies combine pop aesthetics with radical politics.
Each morning, he “awoke”—not the term he would have used—exhausted, having not slept and having driven all night.
Calling something “didactic” has become grounds for immediate dismissal. But do the merits of works with an educational bent—from “The Pitt” to “Elizabeth Costello”—suggest w…
Also: Joan Semmel’s revolutionary nudes, Aleshea Harris’s film adaptation of “Is God Is,” Rachel Syme on thrift markets galore, and more.
Olivier Assayas’s adaptation of a novel about a fictionalized adviser to Vladimir Putin reduces politics to personalities and atrocities to anecdotes.
Maureen Footer’s new biography, “Feel the Floor,” shows how a little-known Black choreographer taught white stars all the latest moves.
Plus: the radiant pop of MUNA, the visceral paintings of Juanita McNeely, a “Beaches” musical, and more.
Camp has become the go-to aesthetic for Broadway musicals. These two new shows dare to be sincere.
Fresh from opening shows for Neil Young, the street preacher Billy Talen has moved on from burning Mickey Mouse in effigy to protesting JPMorgan Chase’s ties to fossil fuels.
