In this “El Monte,” the science of ethnography is traded for something less rigid, something more whimsical and unconstrained. Whereas Cabrera sought to present a faithful documentation of the occult, the Jiménezes build a dizzying world of multiple...
Kate Riley’s ambitious début novel, “Ruth,” opens in 1963, the year that its protagonist, Ruth Scholl, is born into a scrupulously managed Christian commune in Michigan. She grows up with two brothers, a working father, and a homemaker...
It’s about to be a very busy season for the actor André Holland. His latest film, “Love, Brooklyn,” begins its theatrical run on August 29th. A day after, he will start a new run of Tarell Alvin McCraney’s...
The new movie “Eden” features bursts of foul temper, wild sex, grisly violence, and nihilist ideology—a departure, you might say, for Ron Howard, a director whose cinematic disposition can be sunny to the point of sanitization. In a...
For a hundred years of New Yorker history (except once, in 2000, for our seventy-fifth anniversary), our covers have featured drawings, not photographs. For the September 1 & 8, 2025, special centenary issue titled “The Culture Industry,” we...
Santo Taco, one of the newest of the newcomers, opened this spring, in a sliver-slim SoHo space that previously housed La Esquina’s taqueria, whose primary function was as a street-facing decoy for the glamorous restaurant hidden downstairs. La...
If the recent embrace of seemingly—and only seemingly—autonomous machines is any indication, something much less chic than the future premised in “The Matrix” awaits us. During the 1999 film’s sequence of down-the-rabbit-hole scenes, Morpheus (Laurence Fishburne) flips the...
The main elements of Ethan Coen’s new film, “Honey Don’t!,” are sex and violence. Both involve profound sensations and potentially life-changing events; both reveal personality at its most feral and primal. Their prevalence in the movie occasionally suggests...
