Critics at Large | The New Yorker

Introducing: Critics at Large

What Is Cringecore, and Why Is It Everywhere?

The Myth-Making of Elon Musk

Taylor Swift Is Everywhere All at Once

Spies, Sex, and John le Carré

Are Straight Couples O.K.?

Martin Scorsese’s America

Britney Spears Tells Her Horror Story

Why We Dine Out (or Don’t)

Is “The Golden Bachelor” Too Good to Be True?

Samantha Irby Knows How to Be Funny

The Past, Present, and Future of the Period Drama

Hayao Miyazaki’s Magical Realms

George Santos and the Art of the Scam

The Year of the Doll

From The New Yorker Radio Hour: a Conversation with Dolly Parton

Portraits of the Artist

Can Slowness Save Us?

The Case for Criticism

What Is the Comic For?

From In the Dark: The Runaway Princesses

Why We Can’t Quit the Mean Girl

The Painful Pleasure of “Wretched Love”

How Usher, Beyoncé, and Taylor Swift Build Their Own Legacies

The Politics of the Oscar Race

Why We Love an Office Drama

The New Coming-of-Age Story

Is Science Fiction the New Realism?

Kate Middleton and the Internet’s Communal Fictions

Why We Want What Tom Ripley Has

“Curb Your Enthusiasm” and the Art of the Finale

“Civil War” ’s Unsettling Images

Why the Sports Movie Always Wins

Our Collective Obsession with True Crime

Kendrick Lamar, Drake, and the Benefits of Beef

The New Midlife Crisis

The Rising Tide of Slowness

The Many Faces of the Hit Man

Is Travel Broken?

The Therapy Episode

Summer Obsessions

From The New Yorker Radio Hour: Emily Nussbaum on the Beginnings of Reality TV

The Changing World of Nature Documentaries

Alice Munro’s Fall from Grace

From Vanity Fair’s “Dynasty”: Can Harry and Meghan’s Hollywood Dream Last?

The Kamala Harris Vibe Shift

Why We Want What Tom Ripley Has

Charli XCX, Chappell Roan, and the Unstable Hierarchy of Pop

The Irresistible Myth of Las Vegas

Tarot, Tech, and Our Age of Magical Thinking