For The New Yorker’s Starter Pack Series, the musician Audrey Hobert shares the films, books, and music that have inspired ...
For the cover of the October 26, 2026, New Yorker Festival Issue, the artist Mark Ulriksen painted a joyous image of Mikal ...
Wanda the Donkey regularly steals the show at the Met’s most popular production, “La Bohème.” Here’s an inside look at her ...
Darman was a Harvard graduate, an overachiever, clearly driven, cerebral, witty, and tenacious. He believed in the good that ...
Alarm about declining interest in books is perpetual. But, as bookselling reaches unexpected heights, James Daunt, the chief ...
The viral “Hotel Lobby” meme, which lets users inhabit the bodies of Quavo and Takeoff using A.I., resembles a kind of digital blackface, but also speaks to a technology that makes appropriation the ...
Twice in the course of the story, Leo has to choose between the laws of the country and the bonds of familial loyalty. He ...
They power our phones, cars, dishwashers—and the A.I. systems that prop up the economy. They’re also at the heart of fierce ...
Unlike Nathan Fielder’s past work, “You Can See Everything” isn’t very funny, according to Naomi Fry. Instead, it’s a ...
CBS News’ editor-in-chief has pledged to “speak for the seventy-five per cent” of people on the center right and the center ...
Welcome!” John Goodman bellowed from his front porch, in Charleston, South Carolina. He pointed to a patch of flowers, ...
With the opening of Faux, in Tribeca, Keith McNally’s son steps into the family business. Is it ambition or hubris?
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