World
The Photographer Who Looked Past the Idea of Italy
In postwar Italy, the decisive moment was most often one of contrasts—between the wrinkled faces of the agrarian past and the well-tailored suits of Italy’s economic boom, between nostalgia...
Jeff Tweedy on His New Triple Album, “Twilight Override”
Listen and subscribe: Apple | Spotify | Google | Wherever You ListenSign up for our daily newsletter to get the best of The New Yorker in your inbox.Jeff Tweedy...
“I Who Have Never Known Men” Is a Warning
When my twelve-year-old self picked up “I Who Have Never Known Men” from a church rummage sale in 1998, I was certain it was a book written for children....
Is Ghosting Inevitable?
Any new technology created for the purpose of human connection also creates an opportunity for novel forms of missed connection: the envelope returned to sender, the unanswered phone call,...
The End of the Late-Night Band
There’s a moment from a 2012 episode of Conan O’Brien’s former TBS show that I think about often. O’Brien’s guest, the comedian Eric André, sits down and grabs a...
The Lush Pain Music of Nourished by Time
Marcus Brown’s voice is a crooner’s voice, a baritone, emanating notes from some spot in his body deeper than his chest. Biologically speaking, this is impossible. But taking in...
“Caught Stealing” Makes New York a Comedic Criminal Nightmare
From the start of Darren Aronofsky’s new film, “Caught Stealing,” it’s apparent that it hits the sweet spot of his cinematic artistry—the right scale, the right scope. Set in...
Scenes from the “This Is Spinal Tap” Cutting-Room Floor
In 1982, I began shooting an almost entirely improvised film,“This Is Spinal Tap,” which also happened to be my first as a director. It transformed my life and the...
“Eden” Is a Messy Survival Thriller with Nietzschean Appeal
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...
What The New Yorker Was Watching in 1925
Film criticism at The New Yorker started with a bang: the first movie reviewed in the first issue, dated February 21, 1925, was the German director F. W. Murnau’s...
