Style
Elaine Reichek’s Needlepoint Revolution
Marc Jacobs and Sofia Coppola are longtime friends, and it shows in “Marc by Sofia,” the relaxed and detailed documentary that she devotes…
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Style
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Why Can’t You Finish Anything?
One obvious way to finish things is to seek out an external structure. It’s true that my book is overdue—and yet, being overdue is…
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Christian Petzold Ferries Audiences Through Grief
But in the work Petzold has produced since, some of that steely erudition has given way to surprising warmth and whimsy: “Undine” (2020),…
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“DTF St. Louis” Peers Into the Suburban Male Psyche
Starting in 2017, Bateman played Marty Byrde, an accountant turned cash launderer for a ruthless Mexican cartel, in “Ozark,” arguably his…
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An Elegy for the Kennedy Center
Tempting as it is to blame Trump for the Kennedy Center’s fate, he does not bear sole responsibility. The idea of a national arts center…
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“Judy Blume: A Life” and the Problem of Biography
When Blume started writing, the market category of young-adult (as opposed to children’s) literature was defined by politically motivated…
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In the Age of A.I., What Is Taste? And Do We Still Have It?
With artificial intelligence continuing to dominate corporate strategies and news headlines, Silicon Valley has embraced a new buzzword,…
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Were the 2026 Oscars a Swan Song for Warner Bros.?
The couple got into a Warner Bros.-issued Suburban. “Larry, do you have my speech?” Carter called out. (It would remain unread; she lost…
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As Movies Adapt to the Times, the Oscars Can Only Look On
In Hollywood, and at the Oscars, “hope” is a very big word. Chloé Zhao used it in her recorded introduction to a clip from her film…
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The 2026 Oscars Were a Protest Against Their Own Irrelevance
These were stirring, unimpeachable sentiments; imagine the furor that might have erupted, by contrast, if Sean Penn, who famously disdains…
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Maira Kalman’s “Amid It All”
For the cover of the March 23, 2026, Spring Style & Design Issue, the artist Maira Kalman painted a vase exploding with flowers, capturing…
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Can Psychoanalysis Help You Get the Life You Want?
Phillips is a figure for our therapy-soaked era, even if, for him, therapy feeds into and enables life, whereas we often seem to view life…
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Who Bankrolled the American Revolution?
It would appear, in synthesis and to borrow a pleasing opposition of human types from John Milton, that Morris was the active Allegro…
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How Arsenio Hall Shook Up Late Night
Late night isn’t just a time slot. It’s a concept, a temporal metaphor for what we can get away with under the cloak of night, when the…
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What Egon Schiele Saw at the Hospital
Before meeting Graff and his patients, Schiele made art that was largely derivative. He had studied at Vienna’s Academy of Fine Arts with…
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Noma’s Food Is Art. Its Head Chef and Co-Owner Is a Problem
People love to scoff at this sort of high-concept culinary stuff. What’s served at Noma is “food” in the way that couture is clothing–a…
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Big-Screen Remakes
© 2026 Condé Nast. All rights reserved. The New Yorker may earn a portion of sales from products that are purchased through our site as…
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Films Are Fantasies. Here Are Their Realities.
Later, I learned that the man was Atsushi Nishijima, known as Jima—an on-set stills photographer who in the past decade and a half has…
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What Went Wrong When Susan Sontag Met Thomas Mann?
Gil Rodin sent his nephew to the Reinhardt Workshop, a performing-arts school run by the towering Austrian émigré director Max Reinhardt,…
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The Feminist Visionary Who Lost the Plot
Elizabeth Cady Stanton believed that she was a person of “superior intelligence and courage.” This fuelled her radical politics—and her…
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Why Do Mind-Altering Drugs Make People Feel Better?
When Olson was at Stanford, he learned from a mentor who had honed a new method for developing drugs: function-oriented synthesis. Within…
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“Project Hail Mary”: In Space, No One Should Hear Your Glib Jokes
Enter Eva Stratt (Sandra Hüller), a government official with a barbed half smile and a will of iron, who drags Grace back to the world of…
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Two Playwrights Tackle Father Figures
Still, the most remarkable performance at the Cherry Lane is by Peter Friedman, who plays the kind of father you rarely see in art: a good…