Books & Culture
A Critic at Large
The House That Alvin Ailey Built
In “Revelations” and other works, the choreographer created a home for Black dancers.
By Hilton Als
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The New Yorker Interview
Rachel Bloom Has a Funny Song About Death
In her new Netflix special, the comedian turns a tragic life episode into a riotous study of motherhood, mortality, and the meaning of pet heaven.
By Alexandra Schwartz
Critic’s Notebook
Even in Her Memoir, Melania Trump Remains a Mystery
The former First Lady’s new book, “Melania,” promises to draw back the drapery and expose the person behind the persona. It obscures more than it reveals.
By Naomi Fry
Infinite Scroll
Taylor Lorenz’s Plan to Dance on Legacy Media’s Grave
A reporter known for chronicling the “extremely online” is making the leap to the creator economy. The most surprising thing is that she waited this long.
By Kyle Chayka
Open Questions
Should You Just Give Up?
Sisyphus couldn’t stop pushing his boulder—but you can.
By Joshua Rothman
Books
Books
Ta-Nehisi Coates and the Temptations of Narrative
In “The Message,” Coates counsels against myth but proves susceptible to his own.
By Parul Sehgal
Page-Turner
The Mordant Intimacy of Cécile Desprairies’s “The Propagandist”
In her début novel, a historian of Vichy France tackles her family’s real-life collaboration during the Second World War.
By Leslie Camhi
Page-Turner
Four-Hundred-Plus Pages and a Day
In a new graphic novel, the petty and tedious appear magical and strangely beautiful.
By Olivier Schrauwen
Movies
The Front Row
“The Apprentice,” Reviewed: The Immoral Makings of Donald Trump
A new film dramatizes Trump’s rise to success and his fall into turpitude, but fails to capture his dubious star power.
By Richard Brody
The Front Row
“The Outrun,” Reviewed: A Disappointingly Constrained Showcase for Saoirse Ronan
The movie tells an admirable and moving story about a woman coming through her troubles, but it conveys no sense of creative or emotional risk.
By Richard Brody
The Front Row
What to See in the 2024 New York Film Festival’s Second Week
Recognized directors deliver surprising works that expand both their own horizons and the possibilities of the art at large.
By Richard Brody
The Front Row
The Flat Provocations of “Joker: Folie à Deux”
Todd Phillips’s movie musical, starring Joaquin Phoenix and Lady Gaga, walks back the hectic ideology that gave “Joker” its energy.
By Richard Brody
Food
The Food Scene
Putting the Breakfast in Breakfast Ramen
At the tiny food stall Ramen by Ra, Rasheeda Purdie combines Japanese technique with the flavors of morning in New York, including noodles topped with bacon, egg, and cheese.
By Helen Rosner
On and Off the Menu
A Food Critic Walks Into a Fasting Spa
How Southern California became the epicenter of hype diets and twenty-dollar smoothies.
By Hannah Goldfield
The Food Scene
A Tiny Brooklyn Restaurant with Big (and Bewitching) Ideas About Dinner
Cafe Kestrel, in Red Hook, offers cooking that is highly idiosyncratic but not confrontational, from applesauce sundaes to Sunday-night curry.
By Helen Rosner
The Food Scene
Three New Classic Cookies
An audacious take on chocolate-chip, a pastelito-style micro-pie, and a cookie-spiked cookie.
By Helen Rosner
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Photo Booth
A Bronx “Family Album” from Hip-Hop’s Early Days
In the eighties, the Puerto Rican photographer Ricky Flores captured the parties and the people that shaped his teen-age years.
By Geraldo Cadava
Television
On Television
Ryan Murphy’s Latest Era of Cynical Hits
In “Monsters: The Lyle and Erik Menendez Story,” the astoundingly prolific showrunner melds his modes as provocateur and clumsy social-justice warrior, with mixed results.
By Inkoo Kang
On Television
Is Matt Walsh Trying to Make “Am I Racist?” the “Borat” of the Right?
In his work with the Daily Wire and in a new movie, the conservative podcaster and activist tries to expose the hypocrisies of the left.
By Vinson Cunningham
On Television
Nicole Kidman Gives Us What We Want in the Silly, Soapy “The Perfect Couple”
The Netflix murder mystery recalls a time when TV wasn’t supposed to be art.
By Vinson Cunningham
On Television
Monkey Business in “Chimp Crazy”
People who claim to love chimpanzees the most are examined in the new HBO docuseries.
By Vinson Cunningham
The Theatre
The Theatre
Doppelgängers Abound in “The Hills of California” and “Yellow Face”
In Jez Butterworth’s melancholy drama and David Henry Hwang’s mischievously postmodern play, stardom is both a lure and a lie.
By Helen Shaw
The Theatre
Even Mia Farrow and Patti LuPone Can’t Power “The Roommate”
A Midwestern empty nester opens her home to a tough-talking New Yorker in Jen Silverman’s sputtering star vehicle.
By Helen Shaw
Persons of Interest
Cole Escola’s Great Day on Broadway
With their deranged portrayal of Mary Todd Lincoln, the actor and writer emerges from the “gay shadows” in a hysterical farce.
By Julian Lucas
The Theatre
Politics and “The Real” at the Festival d’Avignon
A series of international productions held power to account at a fraught moment.
By Helen Shaw
Music
Musical Events
A Mesmerizing New Opera About a Sonic Cult
In Missy Mazzoli’s “The Listeners,” a group of suburbanites hear a low, pervasive hum that others cannot.
By Alex Ross
Persons of Interest
The Killers’ Return to Las Vegas
A recent residency at Caesars Palace doubled as a homecoming. As one band member says, “We never lost the Vegas.”
By Hanif Abdurraqib
Pop Music
Coldplay’s Self-Help Pop
Chris Martin, the band’s front man, discusses reading Rumi, making music like an apple tree grows apples, and the band’s new album, “Moon Music.”
By Amanda Petrusich
Musical Events
An Idyllic Music Series in the Hebrides
Mendelssohn on Mull celebrates chamber music away from urban pressures.
By Alex Ross
More in Culture
Postscript
Lore Segal Will Keep Talking Through Her Stories
The novelist and short-story writer, who died Monday at ninety-six, contributed to The New Yorker for more than six decades.
By Cressida Leyshon
Cover Story
Owen Smith’s “Alexei Navalny”
A portrait of the defiant Russian opposition leader.
By Françoise MoulyArt by Owen Smith
Goings On
The Press-on-Nail Renaissance
Also: Elizabeth Marvel and Amber Iman star in “The Ford/Hill Project,” American Ballet Theatre dances Dostoyevsky, Hilton Als picks Lower East Side galleries, and more.
The Current Cinema
“Anora” Is a Strip-Club Cinderella Story—and a Farce to Be Reckoned With
Sean Baker’s thrilling film, starring Mikey Madison as a New York sex worker, pushes comic misadventure to the brink of chaos.
By Justin Chang
On Television
The Rise and Fall of Vince McMahon
The Netflix docuseries “Mr. McMahon” explores the sordid history of the W.W.E. and the man who made it what it is.
By Vinson Cunningham
Book Currents
Sarah Smarsh on Capturing the Richness of Working-Class America
The author of “Heartland,” a memoir about growing up on a farm in Kansas, talks about the books that have influenced her career-long exploration of the country’s poor.
The New Yorker Documentary
A Public Defender’s Radical Approach to Representing the January 6th Rioters
Andrea Kalin’s documentary follows the work of a criminal-defense lawyer who strives to confront America’s political divisions with empathy.
Film by Andrea KalinText by Amy Davidson Sorkin
Under Review
The Best Books We’ve Read in 2024 So Far
Our editors and critics review notable new fiction, nonfiction, and poetry.
By The New Yorker
Under Review
The Challenge of Mapping the Latino Right
In a new book, the journalist Paola Ramos advances a unified theory of why more Latinos are supporting Donald Trump. But such a theory risks ignoring the diversity of this demographic’s experience.
By Geraldo Cadava