Saturday, June 20, 2026

Culture

“Toy Story 5” Won’t Leave Kids to Their Own Devices

Ingeniously, Stanton and Harris weaponize a foundational conceit of the “Toy Story” universe—that inanimate objects can have freedom of will, thought, and movement—in order to feed our anxieties about the insidious autonomy of tech and A.I. For parents...

“Widow’s Bay” Sets a High Bar for Horror Comedy

A decade ago, back when Twitter was still Twitter, and writerly types gathered there to amuse one another, a Los Angeles-based screenwriter named Katie Dippold posted one of the all-time great tweets. It was “tbt,” or throwback Thursday,...

A Trollish New Campus Novel Hates Students and Professors Alike

The novel’s main two conflicts center on the university. First, there is an ongoing existential battle being waged between the university (the purview of the academics) and the city’s wild, unstoppable greenery (the purview of the gardeners, a...

In “Disclosure Day,” Steven Spielberg Steps Out from Behind the Curtain

Margaret is entirely aware of what she’s doing when she pulls off these empathetic maneuvers, but she remains oblivious to how she herself is being puppeteered—when she speaks Russian or Korean, when she clucks. There’s a link between...

Olivia Rodrigo’s Early-Twenties Lament | The New Yorker

“They say modern love’s a cruel endeavor,” Olivia Rodrigo sings on “u + me = <3,” a lush, desperate new song from her third album, “You Seem Pretty Sad for a Girl So in Love.” She adds, “And...

Restaurant Review: Marcel | The New Yorker

The menu, from the French chef Marie-Aude Rose, who also runs La Mercerie, is old-fashioned in the au-courant way. A preprandial demi-baguette is laid directly on the tablecloth—no board, no basket, no plate; nothing is chicer, or more...

Kate Millett Disappears | The New Yorker

Millett said that she created “Terminal Piece” because “it could not be written.” The failure of language again: Is it because language is itself a social system and therefore ultimately untrustworthy? Is the art work, with its autonomy...

Pierre-Emmanuel Lyet’s “After the Comeback”

The cover of the June 22, 2026, issue captures the joy on the streets of the city in the hours following OG Anunoby’s rocket-fuelled tip-in that capped the New York Knicks’ historic win over the San Antonio Spurs...

Looksmaxxing for Dummies | The New Yorker

© 2026 Condé Nast. All rights reserved. The New Yorker may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. The material on this site may...

“Disclosure Day” Movie Review | The New Yorker

Margaret, following her nutty North Star wherever it leads, would have been right at home in “Close Encounters of the Third Kind” (1977), in which U.F.O. sightings make enraptured believers of a select few. But that’s hardly the...
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The 6 Summer It Bags Set to Dominate in 2025

Now that we've had enough days of sunshine to officially declare it the start of summer, I'm ready...
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