Critics at Large | The New Yorker

Remembering Dolly Parton

What is Gen Z Afraid Of?

Critics’ Cult Classics: Emily Nussbaum on “Slings & Arrows”

Critics’ Cult Classics: Hannah Goldfield on the Food World’s Secret Tastemakers

Critics’ Cult Classics: Hanif Abdurraqib on Camp Lo’s “Uptown Saturday Night”

The Irony and the Ecstasy of Colson Whitehead

The Golden Age of the American Idiot

Who Owns the Odyssey?

An American Playlist

From The Political Scene: The Politics of the Big Game

Steven Spielberg’s Blockbusters

Why We Cling to the Animal Kingdom

I Need a Critic: June, 2026, Edition

Our Modern Glut of Choice

Where Do Men Go from Here?

How Romantasy Seduces Its Readers

The Met Gala, “The Devil Wears Prada 2,” and the State of Style

What “Michael” Tries to Show—or Hide

Why Earnestness is Everywhere

“Beef,” “The Drama,” and the New Marriage Plot

The Guilty Pleasure of the Heist

“DTF St. Louis” and the New Story of the Suburbs

The Soft Power of BTS

“Love Story” and Why We Cling to the Kennedy Myth

The Hall of Fame—and of Shame—of Oscars Hosts

Critics at Large Live: “Wuthering Heights” and Its Afterlives

The Truth of Toni Morrison

Charli XCX Misses the Moment

“Heated Rivalry,” “Pillion,” and the New Drama of the Closet

I Need a Critic: One-Hundredth-Episode Edition

Why Football Matters

Do We Need Saints?

Our Romance with Jane Austen

The Year of the Broken Mirror

“Wake Up Dead Man” and the Whodunnit Renaissance

Does “Hamlet” Need a Backstory?

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

In “Pluribus,” Utopia Isn’t All It’s Cracked Up to Be

The Guilty Pleasure of the Heist

Critics at Large Live: Padma Lakshmi’s Expansive Taste

Why Horror Still Haunts Us

In the Dark: Blood Relatives, Episode 1

Art in the Age of Artificial Intelligence

I Need a Critic: October, 2025, Edition

How the Trad Wife Took Over

One Paul Thomas Anderson Film After Another

What's Cooking?

“The Paper,” “The Lowdown,” and the Drama of Journalism

Why We're All In on Gambling

Our Fads, Ourselves