1,908 stories from The New Yorker
Emily Nussbaum: "It would feel good to critique the new version [of the show] with a tolerant smile - to say simply that you shouldn't judge any sitcom too harshly, early on. ... I can't wri…
The new staging of the musical is an intimate extravaganza, packed with ideas about the body, gender roles, and fear of closeness.
Hilary Fitzgerald Campbell illustrates the humorous six-degree thought process that leads from dancing to Kevin Bacon.
The playwright's 1974 work defends the purpose of art as an activity that can grant a sliver of immortality.
"More than being Dominican, more than being an immigrant, more, even, than being of African descent, my rape defined me. I spent more energy running from it than I did living. ... And always…
Michael Schulman writes about Tina Fey's "Mean Girls," now a musical on Broadway.
This is a fine, nuanced, complex piece of writing. For example: "How are we meant to feel about art that we both love and oppose? What if we are in the unusual position of having helped crea…
"The canon is lousy with authors who yearn to be admired for their sensitivity to the full range of female personhood, be that personhood luscious, pert, or swelling coyly against a sheer ca…
Just as the advent of the commercial recording industry (and, later, the evolution of analog recording formats, from wax cylinders to 78-r.p.m. disks and long-playing vinyl records) changed …
Rebecca Mead writes about the conflicts and compromises of the musical adaptation of "Frozen" on Broadway, directed by Michael Grandage.
They anointed themselves the "most accessible orchestra on the planet," and have gone some ways toward justifying that superlative. Tickets are cheaper than at other orchestras; my press sea…
By rewording the ads to appeal to the respondents' underlying psychological disposition, the researchers were able to influence and change their opinions. According to Sumner, "Using psychog…
Bambi Linn, ninety-two, and Brittany Pollack, twenty-nine, discuss dancing the same role on Broadway, seventy-three years apart. Michael Schulman writes.
How is it that human thought is so deeply different from that of other animals, even though our brains can be quite similar? The difference is due, Andy Clark believes, to our heightened abi…
"As a composer, I believe that the best gift I can offer our troubled world is music. Some composers choose to address the political issues of their times directly in their music. But, altho…
"It's a big question, when the word 'real' makes sense. An interesting possibility is that the whole distinction between real and unreal is misguided."
Rebecca Mead on Callisto, which functions like the "Shitty Media Men" list, without the vulnerability of a Google doc. Â
A field of advice columns that lob texts at people's troubles has flowered recently, from the Times' "Match Book" to Lit Hub's "Dear Book Therapist" to the Paris Review Daily's "Poetry…
Emily Wilson's presence on Twitter is quietly revolutionary, a new kind of experience for readers, poets, translators, and really anyone who likes to watch knowledge take shape in an open fo…
Amanda Petrusich on Rebecca Miller's new HBO documentary, "Arthur Miller: Writer," which offers an intimate look at the playwright's work in the theatre, struggle with McCarthyism, and insat…
Michael Schulman writes about Marianne Elliott as she wrestles with a notoriously difficult play, and with Tony Kushner.
Andrew Marantz meets the co-founder/CEO of the fourth-most-visited website in the United States, looks at just what it took for the company to move past free-speech absolutism, and how the s…
A revival of Mark Medoff's Tony Award-winning play comes to Studio 54.
The adaptation, which is in previews now, features an updated script by Tina Fey.
"In the past decade, film criticism has become better than ever, by which I don't mean that every critic writing is better than those of the past but that criticism is better over all"more c…
