1,898 stories from The New Yorker
A new Off Broadway play and Shakespeare’s tragedy hinge on a universal anxiety: How well do you know your partner?
Samuel Barber’s 1958 opera was in disrepute for decades. A remarkable new production is the latest evidence of its rightful resurgence.
“Three six five,” a new collection of writing exercises by the writer Lucy Ives, belongs to a venerable tradition of goofy, esoteric, and avant-garde guides to unlocking the creative min…
“Your spirit of grace in the taffy machine’s chrome arms / At Morris’s Candy performing a sarabande / Unknitting and knitting again immaculate sweets.”
At the Morgan Library’s Mozart exhibition, Will Sharpe and Paul Bettany dish about playing classical music’s most notorious rivals, on Starz’s new “Amadeus” reboot.
Before ChatGPT, there was the Plot Robot, Auto-Beatnik, and a century’s worth of schemes for automating authorship.
“You will read this once this afternoon and not again until you’re in your fifties, but, by that time, I will have already died, alone in my apartment, totally nude, except for my ankle …
The composer’s work, featured at a recent festival in Germany, includes a howling denunciation of war crimes against children.
Boots Riley’s zany movies combine pop aesthetics with radical politics.
Each morning, he “awoke”—not the term he would have used—exhausted, having not slept and having driven all night.
Calling something “didactic” has become grounds for immediate dismissal. But do the merits of works with an educational bent—from “The Pitt” to “Elizabeth Costello”—suggest w…
Also: Joan Semmel’s revolutionary nudes, Aleshea Harris’s film adaptation of “Is God Is,” Rachel Syme on thrift markets galore, and more.
Olivier Assayas’s adaptation of a novel about a fictionalized adviser to Vladimir Putin reduces politics to personalities and atrocities to anecdotes.
Maureen Footer’s new biography, “Feel the Floor,” shows how a little-known Black choreographer taught white stars all the latest moves.
Plus: the radiant pop of MUNA, the visceral paintings of Juanita McNeely, a “Beaches” musical, and more.
Camp has become the go-to aesthetic for Broadway musicals. These two new shows dare to be sincere.
Fresh from opening shows for Neil Young, the street preacher Billy Talen has moved on from burning Mickey Mouse in effigy to protesting JPMorgan Chase’s ties to fossil fuels.
Kris Kristofferson told her he was a poet when they co-starred in “Alice Doesn’t Live Here Anymore.” Her new book tells the story of her life in poetry.
The once cancelled producer Scott Rudin has staked his own comeback on making her the First Lady of American Theatre.
As the company she left behind celebrates its centenary, it finds itself caught between preservation and radical tradition.
Before “The Pitt,” the actor waited tables, made lattes, and schlepped Carrie Bradshaw’s wardrobe around town.
The night the tip jar went missing, we assumed that it had been stolen by a student, or maybe a professor—an adjunct—who had taken it when we weren’t looking.
Richard Gadd’s follow-up to “Baby Reindeer” traces a decades-long quasi-familial relationship that’s thornier than any other male bond on TV.
Also: Sarah Larson’s latest podcast picks, “The Rocky Horror Show” and “The Balusters” on Broadway, the French singer Oklou, and more.
The show exists in a strange world where men repeatedly confess their love for each other. Does it make them better people?
