Critics at Large | The New Yorker

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

How to Watch a Movie

Les Américains à Paris

How Zohran Mamdani Became the Main Character of New York City

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

I Need a Critic: May 2025 Edition

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