1,912 stories from The New Yorker
In Rian Johnson's latest whodunnit, Josh O'Connor plays a Catholic priest trying to restore moral order at a church befouled by murder.
Amid firings, boycotts, and programming reoriented to reflect the MAGA agenda, the performing-arts center has become a showcase for Trump's aesthetics and ambitions.
The President was drawn to the institution for its cultural prestige. He and his allies made it radioactive.
Whether you're a pundit, a politician, or an A-list comedian, the best media strategy these days is a D.I.Y. stage set and a microphone.
In Ha Jin's "Looking for Tank Man," uncovering the past doesn't guarantee making peace with the present.
Now starring in her fourteenth Broadway production, the "Sex and the City" actress reflects on Mike Nichols, F. Murray Abraham, and Times Square sleaze.
Two small dogs, both unleashed, rushed toward me, snarling, and one of them bit me on my left leg, just below the knee. It all happened within a second.
Konrad Kay and Mickey Down failed as financiers"but they're making a killing by depicting the profession on HBO.
Katherine's phone rang, and, because it was Adrian calling, everyone went quiet, trying to hear the famous actor's voice.
The author discusses her story "Understanding the Science."
The director of "Hamnet" says that her art has been shaped by her early love of manga, her relationship to the natural world, and her neurodivergence.
The comedian is chafing against playing a pretty girl in a wig on "S.N.L." In her new HBO special, "Sarah Squirm: Live + in the Flesh," the focus is body horror.
The director talks with Michael Schulman about her new film, about the death of Shakespeare's only son.
Also: Alvin Ailey's annual City Center residency, the D.I.Y. virtuoso Jay Som, Alexandra Schwartz's Shakespeare-movie picks, and more.
Andrew Fox, the creator of "Slam Frank," was disillusioned with American theatre. Then a viral debate about white privilege gave him a new sense of purpose.
"Hamnet," a new film directed by Chloé Zhao, is a fictionalized account of how Shakespeare's famous tragedy came to be. Is it reductive or revelatory?
When the young writer began analysis with Dr. Wilfred R. Bion, both men were at the beginning of their careers. Their work together would have a transformative impact.
Matthew Broderick and André De Shields have both undertaken Molière's con-man character. They feel he has a few things in common with a certain orange President.
Francisco Coll gives Ibsen's drama a stem-winder of a score.
The comedian's new HBO series is full of characters who possess their own sparks of madness.
The playwright offered a kind of on-ramp to the literary canon, a way into a life of unabashed, unstoppable thinking.
The writer-director talks about the art of dialogue, his love of marital fight scenes, and how his new film, "Jay Kelly," helped him rekindle his affection for the medium.
In a new standup special, and a début novel, the comedian navigates murky, post-#MeToo terrain: not quite exiled, not quite welcomed back.
Also: the galloping Americana of Ryan Davis, Michael Urie's tragic "Richard II," a holiday roundup, Inkoo Kang's TV picks, and more.
"Coyote," a new biography by Robert M. Dowling, recounts how the cowboy laureate of American theatre invented himself.
