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...
A hundred and one years after James Baldwin’s birth, the writer has become as much an icon as a public intellectual can be—a status that, if justified by the beauty of his prose and the novelty of his...
The town of Schliersee, about an hour south of Munich in the Bavarian Alps, has long been a favored holiday retreat, both for summertime pursuits on its lake and as a ski resort in winter. There are hiking...
Few words in the English language have the onomatopoeic satisfaction of “slop.” Its opening consonants evoke sludge and slipperiness, the round “O” and smacking “P” the liquid wallop of a viscous substance hitting a surface at speed. Pigs...
Dijon Duenas has one of those voices that’s meant for televised singing competitions and gospel choirs, swooning ballads and achy slow jams. It preens and jilts, wails and whimpers, often stretching and straining into strange, improbable territory. It’s...