Critics at Large | The New Yorker

How to Watch a Movie

Les Américains à Paris

Late Night's Last Laugh

“Eddington” and the American Berserk

“Materialists,” “Too Much,” and the Modern Rom-Com

Why We Travel

The Diva Is Dead, Long Live the Diva

Why We Turn Grief Into Art

Our Romance with Jane Austen

“Mountainhead” and the Age of the Pathetic Billionaire

Lessons from “Sesame Street”

The Season for Obsessions

The Grand Spectacle of Pope Week

How “Sinners” Revives the Vampire

War Movies: What Are They Good For?

“The Studio” Pokes Fun at Hollywood’s Existential Struggle

Gossip, Then and Now

Joe Rogan, Hasan Piker, and the Art of the Hang

Critics at Large Live: The Right to Get It Wrong

Our Modern Glut of Choice

How “The Pitt” Diagnoses America's Ills

In “Severance,” the Gothic Double Lives On

The Staying Power of the “S.N.L.” Machine

How Romantasy Seduces Its Readers

David Lynch’s Unsolvable Puzzles

The Splendor of Nature, Now Streaming

The New Western Gold Rush

The Elusive Promise of the First Person

Hayao Miyazaki’s Magical Realms

Critics at Large Live: The Year of the Flop

After “Wicked,” What Do We Want from the Musical?

The Modern-Day Fight for Ancient Rome

Will Kids Online, In Fact, Be All Right?

The Value—and Limits—of Seeking Comfort in Art

Critics at Large Live: Julio Torres’s Dreamy Surrealism

Help, I Need a Critic!

A Controversial Trump Bio-pic and the Villains We Make

“The Substance” and the New Horror of the Modified Body

The Fate of the Finance Bro

Sally Rooney’s Beautiful Deceptions

Was Abraham Lincoln Gay . . . And Should We Care?

The Trap of the Trad Wife

Tarot, Tech, and Our Age of Magical Thinking

The Irresistible Myth of Las Vegas

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

Why We Want What Tom Ripley Has

The Kamala Harris Vibe Shift

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

Alice Munro’s Fall from Grace

The Changing World of Nature Documentaries