1,898 stories from The New Yorker
The author joins Deborah Treisman to read and discuss "The Largesse of the Sea Maiden," which was published in The New Yorker in 2014.
Talk shows have long brought musicians into our living rooms, giving them steady gigs and creating occasional musical magic. But maybe not for much longer.
The comedian talks about his new album, a sound-effects record for the modern era, with the staff writer Michael Schulman.
The "Love, Brooklyn" and "Moonlight" actor recommends some of his favorites.
On any given day, brilliant stuff would spontaneously fly out of someone's mouth. A lot of that stuff had to go, to keep the film's motor running.
Columbia Records saw Terry Riley's "In C," now rereleased for his ninetieth birthday, as a perfect anthem for the psychedelic Zeitgeist, but the mainstream couldn't contain the composer's ut…
The latest album from the musical "S.N.L." alum is a compilation of sound effects, including such tracks as "Obligatory Applause at a Speech" and "Tentative Sawing."
We're used to algorithms guiding our choices. When machines can effortlessly generate the content we consume, though, what's left for the human imagination?
Music writers were once known for being much crankier than the average listener. What happened?
The "entertainer" Kareem Rahma discusses Kamala Harris's missed opportunity on his show, meeting Andrew Cuomo, and why disagreement is more fun.
At the newly renovated Delacorte, Saheem Ali directs a celebrity-packed production that is comically inventive but rarely stirring.
Plus: the eclectic chaos of Haim, Trajal Harrell struts the catwalk at Park Avenue Armory, "Mamma Mia!" returns to Broadway, and more.
Ethan Coen, working with his wife, Tricia Cooke, endows this neo-noir comedy, about a lesbian detective, with dazzle but little more.
Looking closely at a few of the legendary writer's works.
"You mysterious cruel hand, / you cold dropped and not-yet-dropped rain."
Mitchell captured New York's oddballs and renegades with an understated lyricism that transformed fact into literature.
In this year's offerings, the mood ranged from baffled sorrow to laughter in extremis, reflecting our unsettled times.
What we're watching, listening to, and doing this fall.
This historical drama, about efforts to clear the wrongly convicted French captain Alfred Dreyfus, brings to mind the director's own legal troubles.
Arman scoffed at the idea of a life beyond death, and Dad pointed out the irony of a ghost denying the afterlife.
His rendition of the talk show is innately subversive, at direct odds with the squeaky-clean, white-bread humor that is typical of its cable counterpart.
After quitting his gig with the Kennedy Center in protest, the Gen X indie rocker is turning his talents toward MAGA trolls and Charlie Brown.
An older generation dismissed him as passé; a newer one has recast him as a secular saint. But Baldwin's true message remains more unsettling than either camp recognizes.
"Shade," "Empty Vessel," "Culpability," and "Lili Is Crying."
Plus: Lady Gaga and the Black Keys, Indian dance by the New York Harbor, the Time:Spans festival, and more.
