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“Silo” and the Dystopia We Live In | The New Yorker

<!DOCTYPE html><html lang="en-US"><head><title>“Silo” and the Dystopia We Live In | The New Yorker</title><meta charSet="utf-8"/><meta content="IE=edge" http-equiv="X-UA-Compatible"/><meta name="msapplication-tap-highlight" content="no"/><meta name="viewport" content="width=device-width, initial-scale=1"/><meta name="author" content="Daniel A. Gross"/><meta name="copyright" content="Copyright (c) Condé Nast 2025"/><meta name="description" content="Daniel A. Gross writes about the Apple TV+ series “Silo,” a popular post-apocalyptic drama starring Rebecca Ferguson and Tim Robbins."/><meta name="id" content="6787f274b7e99e65ad15735b"/><meta name="keywords" content="post-apocalyptic,dystopias,future,tv shows,audio"/><meta name="news_keywords" content="post-apocalyptic,dystopias,future,tv shows,audio"/><meta name="robots" content="index, follow, noarchive, max-image-preview:large"/><meta name="content-type" content="article"/><meta name="parsely-post-id" content="6787f274b7e99e65ad15735b"/><meta name="parsely-metadata" content="{&quot;description&quot;:&quot;Daniel A. Gross writes about the Apple TV+ series “Silo,” a popular post-apocalyptic drama starring Rebecca Ferguson and Tim Robbins.&quot;,&quot;image-16-9&quot;:&quot;https://media.newyorker.com/photos/678956ce6db7c28623dfd83a/16:9/w_1000,c_limit/DanielGross-Silo.jpg&quot;,&quot;image-1-1&quot;:&quot;https://media.newyorker.com/photos/678956ce6db7c28623dfd83a/1:1/w_1000,c_limit/DanielGross-Silo.jpg&quot;}"/><meta property="og:description" content="The sci-fi series “Silo” is the latest in a string of popular post-apocalyptic dramas with an increasingly uncanny resonance."/><meta property="og:image" content="https://media.newyorker.com/photos/678956ce6db7c28623dfd83a/16:9/w_1280,c_limit/DanielGross-Silo.jpg"/><meta property="og:site_name" content="The New Yorker"/><meta property="og:title" content="Are We Living in a Dystopia?"/><meta property="og:type" content="article"/><meta property="og:url" content="https://www.newyorker.com/culture/on-television/are-we-living-in-a-dystopia"/><meta property="article:content_tier" content="free"/><meta property="article:opinion" content="false"/><meta http-equiv="content-language" content="en-US"/><meta property="article:section" content="tags"/><meta property="article:published_time" content="2025-01-17T19:34:26.549Z"/><meta property="article:modified_time" content="2025-01-17T19:34:26.549Z"/><meta property="article:author" content="Daniel A. Gross"/><meta property="twitter:card" content="summary_large_image"/><meta property="twitter:creator" content="@NewYorker"/><meta property="twitter:description" content="The sci-fi series “Silo” is the latest in a string of popular post-apocalyptic dramas with an increasingly uncanny resonance."/><meta property="twitter:domain" content="https://www.newyorker.com"/><meta property="twitter:image" content="https://media.newyorker.com/photos/678956ce6db7c28623dfd83a/16:9/w_1280,c_limit/DanielGross-Silo.jpg?mbid=social_retweet"/><meta property="twitter:site" content="@NewYorker"/><meta property="twitter:title" content="Are We Living in a Dystopia?"/><meta property="pinterest:image" content="https://media.newyorker.com/photos/678956ce6db7c28623dfd83a/2:3/w_1000,h_1500,c_limit/DanielGross-Silo.jpg"/><meta property="fb:app_id" content="1147169538698836"/><meta property="fb:pages" content="9258148868"/><link rel="canonical" 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{"channel":"culture","content":{"copyCount":1349,"imageCount":0,"embedCount":2,"ratio":674.5,"midContentCadence":900},"contentType":"article","experiments":{},"keywords":{"copilotid":["6787f274b7e99e65ad15735b"],"platform":["verso"],"tags":["culture","on-television","post-apocalyptic","dystopias","future","tv-shows"]},"server":"production","slug":"are-we-living-in-a-dystopia","subChannel":"on-television","subSubChannel":"","templateType":"mt_article_two_column"};</script><link rel="preconnect" href="https://ads-static.conde.digital"/><script id="ads-v6" src="https://ads-static.conde.digital/production/cns/builds/the-new-yorker/v6.js" async=""></script><script type="application/ld+json">{"@context":"http://schema.org","@type":"NewsArticle","articleBody":"A post-apocalyptic story is something like a murder mystery in which the victim is life as we know it—“not a whodunnit but a howdidithappen,” as Jill Lepore wrote in this magazine, in 2017. Often, artifacts from our own time serve as clues about what has gone awry. In the first season of “Silo,” released in 2023, a string of ill-fated characters encounter “relics” that threaten to reveal dark truths about the origins of their underground refuge, and about what came before. They can’t figure out what a prehistoric Pez dispenser is for, but they can use the Silo’s ancient computers to read the files on a twentieth-century hard drive. A book called “Amazing Adventures in Georgia,” which might as well be set in Atlantis, includes photographs of long-lost animals, forests, and a beach at twilight.\nIn “Silo,” ten thousand people live on a hundred and forty-four subterranean levels, which are connected by an enormous spiral staircase. Working-class mechanics are consigned to the “down deep,” where they maintain a massive generator that powers, among other things, grow lights for crops. A managerial class, led by a mayor, a judge, a sheriff, and a head of I.T., lives in the “up top.” The only view of the outside comes from an aboveground camera, which shows a desolate hillside, some leafless trees, and the dead bodies of people who have left the Silo. The society’s worst punishment is “going out to clean”—being sent through an air lock to wipe dust off the camera lens, then die of whatever has tainted the air.\n“Silo” follows a classic dystopian structure: forbidden knowledge launches a hero’s quest for more forbidden knowledge, which may lead to triumph or tragedy. The hero of George Orwell’s “1984” is a bureaucrat whose discovery of a blank diary leads him to turn on his government; the hero of Ray Bradbury’s “Fahrenheit 451” is a professional book burner who starts to steal books. In “Silo,” as in these earlier works, powerful people act ruthlessly to keep secrets secret. But a hard-headed engineer named Juliette Nichols (Rebecca Ferguson) is unexpectedly promoted to sheriff and starts to investigate. “How did they lose this world?” is the question that drives the entire show, and, indeed, an entire genre.\nOne of the perverse pleasures of a dystopia is that we identify with its truth-seeking inhabitants as they try to find out who ruined their world—and, at the same time, we sense that we probably did. The desolation outside the Silo evokes the everyday terrors of our time: only a few years ago, governments ordered their citizens to shelter in place for fear of a novel virus, and, as I write this, many residents of Los Angeles have fled their homes in the face of wildfires or are staying indoors to avoid the smoke. Post-apocalyptic stories can, paradoxically, be comforting: at least the present day isn’t that bad. On the other hand, we may be drawn to dystopias because we fear we live in one.\nDuring President Trump’s first year in office, such stories were popular enough that Lepore’s piece proclaimed “a golden age for dystopian fiction.” (The term “dystopian,” which once referred to a utopia gone wrong, was also becoming more versatile; in 2023, Merriam-Webster noted that it had been applied to wildfire smoke, A.I. risks, and Republican predictions about the future of San Francisco.) As we approach the ultimate bad sequel, a second Trump Administration, post-apocalyptic dramas marked by pandemics (“The Last of Us,” “Station Eleven”), environmental catastrophe (“Snowpiercer,” “The End”), and the erosion of reproductive rights (“The Handmaid’s Tale,” “Furiosa”) have continued to proliferate. Many of them draw on decades-old source material that has taken on new relevance. When such works are successful, they are often described as “prescient” or “prophetic,” as though their creators saw the future and described it in art; when they are heavy-handed or make you want to look away, you might call them “too real.” But a better indication of a dystopia’s success may be that its world is at once alien and unsettlingly plausible.\nThe world of “Silo” is both, most of the time, though it occasionally defies physics (at one point, Juliette falls hundreds of feet and lives) and linguistics (Ferguson’s pesky Swedish accent is one of the few flaws in her performance). The books on which the show is based, published by the sci-fi writer Hugh Howey, starting in 2011, are also built on a dubious theory that history is not only cyclical but centrally planned, through written rules. As the second season wears on, this notion warps the plot in ways that strain credulity, and the series’ innumerable cliffhangers gum up the narrative with artificial tension. Still, the Silo is an inventive, absorbing setting, rendered in a retro-futurist mid-century style that compensates for the bleakness. The meticulous details of life underground, unspooled such that each answer raises another question, are a triumph of world-building—not only for us, the viewers, but also for the characters, who are solving a mystery, too.\nOne of the uses of speculative fiction—and of fiction in general—is that it allows us to look at our own world as a stranger might. In September, 1961, when the Soviet Union was preparing to test the largest nuclear bomb ever detonated, CBS aired “The Shelter,” an episode of “The Twilight Zone” that begins at a doctor’s birthday party, in a pleasant suburb of New York. In a toast, one of his neighbors gently mocks him for the racket he’s made while constructing an underground fallout shelter. A few minutes later, a radio broadcast announces a yellow alert: a radar system has detected a possible missile attack. The guests rush home in terror without another word.\nThe doctor is retreating behind a metal door when a neighbor returns. The man begs for, then demands, a spot in the shelter, but there’s space only for the doctor and his family. “I kept telling you . . . get ready,” he says. “To build a shelter was to admit to the kind of age we lived in, and none of you had the guts to face that!” Other neighbors arrive and bicker for a few minutes about who should be allowed in. Finally, they bash open the door with a heavy pipe. Then an update crackles across the radio. The radar blips were satellites; the alert was a false alarm.\n“The Shelter” did not depict a dystopia, at least not in the way we usually use that term. But these days the line is blurrier. After the wildfires erupted in L.A. last week, many turned to Octavia E. Butler’s 1993 novel, “Parable of the Sower,” which is set in the twenty-twenties and describes “whole blocks of boarded up buildings burning in Los Angeles.” Butler owned a house in Altadena, and her story opens in a desolate version of the city she knew, ravaged by inequality and climate change. Much of Altadena has now burned down; even the cemetery where Butler is buried caught fire. Still, her writings are not solely dystopian. They also suggest, very quietly, that a better world might be possible. Her grave is marked by a footstone that quotes the book: “All that you touch, you change. All that you change, changes you.” ♦","isBasedOn":"","articleSection":"on television","author":[{"@type":"Person","name":"Daniel A. Gross","sameAs":"https://www.newyorker.com/contributors/daniel-a-gross"}],"dateModified":"2025-01-17T14:34:26.549-05:00","datePublished":"2025-01-17T14:34:26.549-05:00","headline":"“Silo” and the Dystopia We Live In","image":["https://media.newyorker.com/photos/678956ce6db7c28623dfd83a/16:9/w_1904,h_1071,c_limit/DanielGross-Silo.jpg","https://media.newyorker.com/photos/678956ce6db7c28623dfd83a/4:3/w_1428,h_1071,c_limit/DanielGross-Silo.jpg","https://media.newyorker.com/photos/678956ce6db7c28623dfd83a/1:1/w_1071,h_1071,c_limit/DanielGross-Silo.jpg"],"keywords":["on television","post-apocalyptic","dystopias","future","tv shows","audio","splitscreenimagerightinset","web"],"thumbnailUrl":"https://media.newyorker.com/photos/678956ce6db7c28623dfd83a/2:3/w_714,h_1071,c_limit/DanielGross-Silo.jpg","url":"https://www.newyorker.com/culture/on-television/are-we-living-in-a-dystopia","isPartOf":{"@type":"CreativeWork","name":"The New Yorker"},"isAccessibleForFree":true,"alternativeHeadline":"Daniel A. 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class="icon-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="icon-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActionBarButtonText-bYXYuh iUEiRd bYbRbe gkccfO">Save this story</span></button></div><div data-attr-viewport-monitor="" class="ActionBarWrapper-dhxmQh dupdPP viewport-monitor-anchor"><button id="bookmark" aria-label="Save this story" class="ActionBarButton-dyFOZU jbWTJi bookmark mobile"><span class="ActionBarSecondaryButtonPrimaryIcon-isbvyN cAwccV bookmark-button-icon"><svg class="icon icon-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="http://www.w3.org/2000/svg"><title>Save this story</title><path class="icon-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="icon-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActionBarButtonText-bYXYuh iUEiRd bYbRbe gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-testid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 ArticlePageChunksGrid-hfxaau eSqXkM grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="BodyWrapper-kufPGa isZwGb body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><figure class="CneAudioEmbedFigure-bRoyFa cjLQOE"><div><div id="js-audioembed-zvtjvm"></div></div></figure><p class="has-dropcap has-dropcap__lead-standard-heading paywall">In a recent episode of “Silo,” the sci-fi series from Apple TV+, a character who does not have long to live puts on a virtual-reality headset. She’s spent her entire life in a subterranean shelter, which descends more than a mile into the earth like an upside-down skyscraper. What she sees in the headset is totally alien: the cloud forests of Costa Rica, recorded in the bygone year of 2018. We never see the red-eyed tree frog and iridescent birds that appear on her screen; instead, we watch her reach out and close her fingers on empty space. “So beautiful,” she says. Then she refers to us, the people of the twenty-first century: “How did they lose this world?”</p><p class="paywall">A post-apocalyptic story is something like a murder mystery in which the victim is life as we know it—“not a whodunnit but a howdidithappen,” as Jill Lepore <a href="https://www.newyorker.com/magazine/2017/06/05/a-golden-age-for-dystopian-fiction">wrote</a> in this magazine, in 2017. Often, artifacts from our own time serve as clues about what has gone awry. In the first season of “Silo,” released in 2023, a string of ill-fated characters encounter “relics” that threaten to reveal dark truths about the origins of their underground refuge, and about what came before. They can’t figure out what a prehistoric Pez dispenser is for, but they can use the Silo’s ancient computers to read the files on a twentieth-century hard drive. A book called “Amazing Adventures in Georgia,” which might as well be set in Atlantis, includes photographs of long-lost animals, forests, and a beach at twilight.</p><p class="paywall">In “Silo,” ten thousand people live on a hundred and forty-four subterranean levels, which are connected by an enormous spiral staircase. Working-class mechanics are consigned to the “down deep,” where they maintain a massive generator that powers, among other things, grow lights for crops. A managerial class, led by a mayor, a judge, a sheriff, and a head of I.T., lives in the “up top.” The only view of the outside comes from an aboveground camera, which shows a desolate hillside, some leafless trees, and the dead bodies of people who have left the Silo. The society’s worst punishment is “going out to clean”—being sent through an air lock to wipe dust off the camera lens, then die of whatever has tainted the air.</p><div></div><div></div><p class="paywall">“Silo” follows a classic dystopian structure: forbidden knowledge launches a hero’s quest for more forbidden knowledge, which may lead to triumph or tragedy. The hero of George Orwell’s “<a data-offer-url="https://www.amazon.com/1984-Signet-Classics-George-Orwell/dp/0451524934" class="external-link" data-event-click="{&quot;element&quot;:&quot;ExternalLink&quot;,&quot;outgoingURL&quot;:&quot;https://www.amazon.com/1984-Signet-Classics-George-Orwell/dp/0451524934&quot;}" href="https://www.amazon.com/1984-Signet-Classics-George-Orwell/dp/0451524934" rel="nofollow noopener" target="_blank">1984</a>” is a bureaucrat whose discovery of a blank diary leads him to turn on his government; the hero of Ray Bradbury’s “<a data-offer-url="https://www.amazon.com/Fahrenheit-451-Ray-Bradbury/dp/1451673310" class="external-link" data-event-click="{&quot;element&quot;:&quot;ExternalLink&quot;,&quot;outgoingURL&quot;:&quot;https://www.amazon.com/Fahrenheit-451-Ray-Bradbury/dp/1451673310&quot;}" href="https://www.amazon.com/Fahrenheit-451-Ray-Bradbury/dp/1451673310" rel="nofollow noopener" target="_blank">Fahrenheit 451</a>” is a professional book burner who starts to steal books. In “Silo,” as in these earlier works, powerful people act ruthlessly to keep secrets secret. But a hard-headed engineer named Juliette Nichols (Rebecca Ferguson) is unexpectedly promoted to sheriff and starts to investigate. “How did they lose this world?” is the question that drives the entire show, and, indeed, an entire genre.</p><p class="paywall">One of the perverse pleasures of a dystopia is that we identify with its truth-seeking inhabitants as they try to find out who ruined their world—and, at the same time, we sense that we probably did. The desolation outside the Silo evokes the everyday terrors of our time: only a few years ago, governments ordered their citizens to shelter in place for fear of a novel virus, and, as I write this, many residents of Los Angeles have fled their homes in the face of wildfires or are staying indoors to avoid the smoke. Post-apocalyptic stories can, paradoxically, be comforting: at least the present day isn’t <em>that</em> bad. On the other hand, we may be drawn to dystopias because we fear we live in one.</p><div class="Container-hnJNtl gxMaIG"></div><p class="paywall">During President Trump’s first year in office, such stories were popular enough that Lepore’s piece proclaimed “a golden age for dystopian fiction.” (The term “dystopian,” which once referred to a utopia gone wrong, was also becoming more versatile; in 2023, Merriam-Webster noted that it had been applied to wildfire smoke, A.I. risks, and Republican predictions about the future of San Francisco.) As we approach the ultimate bad sequel, a second Trump Administration, post-apocalyptic dramas marked by pandemics (“<a href="https://www.newyorker.com/magazine/2023/01/23/the-last-of-us-review-hbo">The Last of Us</a>,” “<a href="https://www.newyorker.com/culture/on-television/in-station-eleven-all-art-is-adaptation">Station Eleven</a>”), environmental catastrophe (“Snowpiercer,” “<a href="https://www.newyorker.com/goings-on-about-town/the-end-12-09-24">The End</a>”), and the erosion of reproductive rights (“<a href="https://www.newyorker.com/magazine/2017/05/22/a-cunning-adaptation-of-the-handmaids-tale">The Handmaid’s Tale</a>,” “<a href="https://www.newyorker.com/magazine/2024/06/03/furiosa-a-mad-max-saga-movie-review">Furiosa</a>”) have continued to proliferate. Many of them draw on decades-old source material that has taken on new relevance. When such works are successful, they are often described as “prescient” or “prophetic,” as though their creators saw the future and described it in art; when they are heavy-handed or make you want to look away, you might call them “too real.” But a better indication of a dystopia’s success may be that its world is at once alien and unsettlingly plausible.</p><div><div class="ConsumerMarketingUnitThemedWrapper-iUTMTf jssHut consumer-marketing-unit consumer-marketing-unit--article-mid-content" role="presentation" aria-hidden="true"><div class="consumer-marketing-unit__slot consumer-marketing-unit__slot--article-mid-content consumer-marketing-unit__slot--in-content"></div><div class="journey-unit"></div></div></div><p class="paywall">The world of “Silo” is both, most of the time, though it occasionally defies physics (at one point, Juliette falls hundreds of feet and lives) and linguistics (Ferguson’s pesky Swedish accent is one of the few flaws in her performance). The <a data-offer-url="https://www.amazon.com/Wool-Hugh-Howey/dp/0358447844" class="external-link" data-event-click="{&quot;element&quot;:&quot;ExternalLink&quot;,&quot;outgoingURL&quot;:&quot;https://www.amazon.com/Wool-Hugh-Howey/dp/0358447844&quot;}" href="https://www.amazon.com/Wool-Hugh-Howey/dp/0358447844" rel="nofollow noopener" target="_blank">books</a> on which the show is based, published by the sci-fi writer Hugh Howey, starting in 2011, are also built on a dubious theory that history is not only cyclical but centrally planned, through written rules. As the second season wears on, this notion warps the plot in ways that strain credulity, and the series’ innumerable cliffhangers gum up the narrative with artificial tension. Still, the Silo is an inventive, absorbing setting, rendered in a retro-futurist mid-century style that compensates for the bleakness. The meticulous details of life underground, unspooled such that each answer raises another question, are a triumph of world-building—not only for us, the viewers, but also for the characters, who are solving a mystery, too.</p><p class="paywall">One of the uses of speculative fiction—and of fiction in general—is that it allows us to look at our own world as a stranger might. In September, 1961, when the Soviet Union was preparing to test the largest nuclear bomb ever detonated, CBS aired “The Shelter,” an episode of “The Twilight Zone” that begins at a doctor’s birthday party, in a pleasant suburb of New York. In a toast, one of his neighbors gently mocks him for the racket he’s made while constructing an underground fallout shelter. A few minutes later, a radio broadcast announces a yellow alert: a radar system has detected a possible missile attack. The guests rush home in terror without another word.</p><p class="paywall">The doctor is retreating behind a metal door when a neighbor returns. The man begs for, then demands, a spot in the shelter, but there’s space only for the doctor and his family. “I kept telling you . . . get ready,” he says. “To build a shelter was to admit to the kind of age we lived in, and none of you had the guts to face that!” Other neighbors arrive and bicker for a few minutes about who should be allowed in. Finally, they bash open the door with a heavy pipe. Then an update crackles across the radio. The radar blips were satellites; the alert was a false alarm.</p><p class="paywall">“The Shelter” did not depict a dystopia, at least not in the way we usually use that term. But these days the line is blurrier. After the <a href="https://www.newyorker.com/magazine/2025/01/20/on-the-ground-during-las-wildfire-emergency">wildfires erupted in L.A.</a> last week, many turned to Octavia E. Butler’s 1993 novel, “<a data-offer-url="https://www.amazon.com/Parable-Sower-Earthseed-Octavia-Butler/dp/0446675504" class="external-link" data-event-click="{&quot;element&quot;:&quot;ExternalLink&quot;,&quot;outgoingURL&quot;:&quot;https://www.amazon.com/Parable-Sower-Earthseed-Octavia-Butler/dp/0446675504&quot;}" href="https://www.amazon.com/Parable-Sower-Earthseed-Octavia-Butler/dp/0446675504" rel="nofollow noopener" target="_blank">Parable of the Sower</a>,” which is set in the twenty-twenties and describes “whole blocks of boarded up buildings burning in Los Angeles.” Butler owned a house in Altadena, and her story opens in a desolate version of the city she knew, ravaged by inequality and climate change. Much of Altadena has now burned down; even the cemetery where Butler is buried caught fire. Still, her writings are not solely dystopian. They also suggest, very quietly, that a better world might be possible. Her grave is marked by a footstone that quotes the book: “All that you touch, you change. All that you change, changes you.” ♦</p></div></div></div></div></div><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 PaywallInlineBarrierWithWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="body body__inline-barrier article__body"><div class="container container--body"><div class="container--body-inner"><aside class="PaywallInlineBarrierWrapper-iBnuqk lfXXa-D" data-testid="PaywallInlineBarrierWrapper"><div class="ConsumerMarketingUnitThemedWrapper-iUTMTf jssHut consumer-marketing-unit consumer-marketing-unit--paywall-inline-barrier" role="presentation" aria-live="polite" aria-hidden="true"><div class="consumer-marketing-unit__slot consumer-marketing-unit__slot--paywall-inline-barrier"></div><div class="journey-unit"></div></div></aside></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="body body__container"><div class="container container--body"><div class="container--body-inner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="LinkStackWrapper-NFLYw kgtXXB linkstack" data-testid="LinkStack"><div class="SectionTitleRoot-dBGvdq dObkxA LinkStackHeader-lKjbE eOIsXc link-stack--heading" data-testid="SectionTitle"><h2 class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectionTitleHed-dKqZet dxqEAa hLZrSI gbguXG">New Yorker Favorites</h2></div><div class="LinkStackContent-jyKicS gAUAiC"><ul class="LinkStackList-gGcjdZ dnMwpz"><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>A photographer’s college classmates, <a href="/culture/photo-booth/a-photographers-old-college-classmates-back-then-and-now" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">then and now</a>.</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>The repressive, authoritarian soul of “<a href="/culture/rabbit-holes/the-repressive-authoritarian-soul-of-thomas-the-tank-engine-and-friends" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">Thomas the Tank Engine</a>.” </p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>Why the last snow on Earth <a href="/tech/annals-of-technology/why-the-last-snow-on-earth-may-be-red" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">may be red</a>.</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>Harper Lee’s <a href="/books/page-turner/harper-lees-forgotten-true-crime-project" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">abandoned true-crime novel</a>.</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>How the super-rich are <a href="/magazine/2017/01/30/doomsday-prep-for-the-super-rich" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">preparing for doomsday</a>.</p></div></li><li class="LinkStackBullet-kQRqul iQHwiG link-stack--link-item" data-testid="LinkStackBullet"><div><p>What if a pill could give you <a href="/magazine/2017/11/06/a-pill-to-make-exercise-obsolete" class="InternalLinkEmbedWrapper-fhjgJW cQLtaa">all the benefits of a workout</a>?</p></div></li></ul><div class="LinkStackFooter-KfRyO ebnmps link-stack--footer"><div><p><a href="https://www.newyorker.com/newsletter/daily">Sign up</a> for our daily newsletter to receive the best stories from <em>The New Yorker</em>.</p></div></div></div></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="ContributorsWrapper-eNpWFu gcgHaa contributors" data-testid="Contributors"><div data-testid="contributor-bio-wrapper" class="ContributorBioWrapper-bnVHbt gukMon"><div class="ContributorBioContent-ubQdr jZTSSi"><div class="ContributorBioHeader-ledood XOIEx"></div><div class="ContributorBioBio-fBolsO giFhKz"><a href="/contributors/daniel-a-gross">Daniel A. Gross</a> is a story editor at The New Yorker.</div><div class="ContributorBioFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div data-testid="TagCloudWrapper" class="TagCloudWrapper-gGgndx guyhEV ContentFooterTagCloud-krQmRG esZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectionHeader-cOforY iUEiRd jEHmrR kQQRmu">More:</span><a href="/tag/post-apocalyptic" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TagCloudLink-kvjZFu iUEiRd dTCiYp gFobuk ldGMWn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd kQrSNW bUkXwu">Post-Apocalyptic</span></a><a href="/tag/dystopias" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TagCloudLink-kvjZFu iUEiRd dTCiYp 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We Learn About Our World by Imagining Its End</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/02/03/everything-must-go-dorian-lynskey-book-review#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-1" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source 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But is there comfort to be found in our apocalyptic visions?</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Arthur Krystal</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;Catherine Breillat’s Unsettling Cinema of Desire&quot;,&quot;index&quot;:1,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/culture/persons-of-interest/catherine-breillats-unsettling-cinema-of-desire#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/persons-of-interest/catherine-breillats-unsettling-cinema-of-desire#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-2" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_240,c_limit/undefined 240w, 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rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Persons of Interest</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-2" data-component-type="recirc-river" data-recirc-id="item-hed-2" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/persons-of-interest/catherine-breillats-unsettling-cinema-of-desire#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Catherine Breillat’s Unsettling Cinema of Desire</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/persons-of-interest/catherine-breillats-unsettling-cinema-of-desire#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-2" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Catherine Breillat’s Unsettling Cinema of Desire" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The French director has built her decades-long career on transgression. She sees herself as a romantic.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Victoria Uren</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;The Brief and Brilliant Career of Sara Gómez&quot;,&quot;index&quot;:2,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/culture/the-front-row/the-brief-and-brilliant-career-of-sara-gomez#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-front-row/the-brief-and-brilliant-career-of-sara-gomez#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-3" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Brief and Brilliant Career of Sara Gómez" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Front Row</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-3" data-component-type="recirc-river" data-recirc-id="item-hed-3" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/the-front-row/the-brief-and-brilliant-career-of-sara-gomez#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Brief and Brilliant Career of Sara Gómez</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-front-row/the-brief-and-brilliant-career-of-sara-gomez#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-3" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Brief and Brilliant Career of Sara Gómez" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Gómez, the first woman to direct movies in Cuba, created a body of work that’s revolutionary in form and politics alike.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Richard Brody</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;“Hugh Jackman LIVE” and “Beckett Briefs” Make a Spectacle of Time’s Passage&quot;,&quot;index&quot;:3,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/magazine/2025/02/10/hugh-jackman-live-beckett-briefs-theatre-review#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/02/10/hugh-jackman-live-beckett-briefs-theatre-review#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-4" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679a6008706481cd2e564cc6/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679a6008706481cd2e564cc6/4:3/w_240,c_limit/undefined 240w, 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braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Theatre</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-4" data-component-type="recirc-river" data-recirc-id="item-hed-4" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/02/10/hugh-jackman-live-beckett-briefs-theatre-review#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">“Hugh Jackman LIVE” and “Beckett Briefs” Make a Spectacle of Time’s Passage</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/02/10/hugh-jackman-live-beckett-briefs-theatre-review#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-4" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679a6008706481cd2e564cc6/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679a6008706481cd2e564cc6/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679a6008706481cd2e564cc6/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679a6008706481cd2e564cc6/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679a6008706481cd2e564cc6/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679a6008706481cd2e564cc6/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679a6008706481cd2e564cc6/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="“Hugh Jackman LIVE” and “Beckett Briefs” Make a Spectacle of Time’s Passage" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679a6008706481cd2e564cc6/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">In two new shows, the Oscar-nominated, Tony Award-winning star and F. Murray Abraham play against their younger selves.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Helen Shaw</span></span></span></div></div></div></div></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryCollectionGridSummaryItem-WColm drmLpp ad ad--read-more"><div class="ad__slot ad__slot--read-more" data-node-id="j5kb3r"></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;The Political Drama of “I’m Still Here” Is Moving but Airbrushed&quot;,&quot;index&quot;:4,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/culture/the-current-cinema/the-political-drama-of-im-still-here-is-moving-but-airbrushed#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-current-cinema/the-political-drama-of-im-still-here-is-moving-but-airbrushed#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-5" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" 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data-testid="SummaryItemHed">The Political Drama of “I’m Still Here” Is Moving but Airbrushed</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-current-cinema/the-political-drama-of-im-still-here-is-moving-but-airbrushed#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-5" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Political Drama of “I’m Still Here” Is Moving but Airbrushed" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679936c1becb2ac36556ea8c/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">In Walter Salles’s Oscar-nominated film, Fernanda Torres plays a woman whose family is torn apart by Brazil’s military dictatorship.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Justin Chang</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;Lessons for the End of the World&quot;,&quot;index&quot;:5,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/culture/essay/lessons-for-the-end-of-the-world#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/essay/lessons-for-the-end-of-the-world#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-6" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Lessons for the End of the World" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Essay</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-6" data-component-type="recirc-river" data-recirc-id="item-hed-6" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/essay/lessons-for-the-end-of-the-world#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Lessons for the End of the World</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/essay/lessons-for-the-end-of-the-world#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-6" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Lessons for the End of the World" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">On Octavia Butler, the L.A. fires, and the uses and misuses of the things that cannot be recovered.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Hanif Abdurraqib</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;The Theatrical Release of “Compensation” Is Cause for Celebration&quot;,&quot;index&quot;:6,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/culture/the-front-row/the-theatrical-release-of-compensation-is-cause-for-celebration#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-front-row/the-theatrical-release-of-compensation-is-cause-for-celebration#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-7" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Theatrical Release of “Compensation” Is Cause for Celebration" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Front Row</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-7" data-component-type="recirc-river" data-recirc-id="item-hed-7" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/the-front-row/the-theatrical-release-of-compensation-is-cause-for-celebration#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Theatrical Release of “Compensation” Is Cause for Celebration</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-front-row/the-theatrical-release-of-compensation-is-cause-for-celebration#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-7" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Theatrical Release of “Compensation” Is Cause for Celebration" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ae61374ff3110a92d2e9b0/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Zeinabu irene Davis’s 1999 feature, a century-spanning vision of two deaf Black women in Chicago, is among the greatest independent films but has rarely been screened.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Richard Brody</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;The Manic Brilliance of “Breakfast of Champions”&quot;,&quot;index&quot;:7,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/culture/the-front-row/the-manic-brilliance-of-breakfast-of-champions#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-front-row/the-manic-brilliance-of-breakfast-of-champions#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-8" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Manic Brilliance of “Breakfast of Champions”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Front Row</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-8" data-component-type="recirc-river" data-recirc-id="item-hed-8" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/the-front-row/the-manic-brilliance-of-breakfast-of-champions#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Manic Brilliance of “Breakfast of Champions”</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-front-row/the-manic-brilliance-of-breakfast-of-champions#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-8" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Manic Brilliance of “Breakfast of Champions”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Scorned by critics on its release, in 1999, Alan Rudolph’s Kurt Vonnegut adaptation now emerges as an inspired comic extravaganza, whose very originality was its undoing.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Richard Brody</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;The Motley Vermont Town Trying to Tell Its Own Story&quot;,&quot;index&quot;:8,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/news/dispatch/hardwick-the-motley-vermont-town-trying-to-tell-its-own-story#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/dispatch/hardwick-the-motley-vermont-town-trying-to-tell-its-own-story#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-9" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Motley Vermont Town Trying to Tell Its Own Story" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Dispatch</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-9" data-component-type="recirc-river" data-recirc-id="item-hed-9" data-recirc-pattern="summary-item" href="https://www.newyorker.com/news/dispatch/hardwick-the-motley-vermont-town-trying-to-tell-its-own-story#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Motley Vermont Town Trying to Tell Its Own Story</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/dispatch/hardwick-the-motley-vermont-town-trying-to-tell-its-own-story#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-9" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Motley Vermont Town Trying to Tell Its Own Story" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">At the Civic Standard, in Hardwick, community building is a kind of performance art, where the usual tales of a fractured America are quickly upstaged.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Chelsea Edgar</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;The Cancer Scams That Foreshadowed &lt;em class=\&quot;small\&quot;&gt;MAHA&lt;/em&gt;&quot;,&quot;index&quot;:9,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/culture/cultural-comment/the-cancer-scams-that-foreshadowed-maha#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/cultural-comment/the-cancer-scams-that-foreshadowed-maha#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-10" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67a3c26f05d5a7075deb6fab/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67a3c26f05d5a7075deb6fab/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67a3c26f05d5a7075deb6fab/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67a3c26f05d5a7075deb6fab/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67a3c26f05d5a7075deb6fab/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67a3c26f05d5a7075deb6fab/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67a3c26f05d5a7075deb6fab/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Cancer Scams That Foreshadowed MAHA" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67a3c26f05d5a7075deb6fab/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Cultural Comment</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-10" data-component-type="recirc-river" data-recirc-id="item-hed-10" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/cultural-comment/the-cancer-scams-that-foreshadowed-maha#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Cancer Scams That Foreshadowed <em class="small">MAHA</em></div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/cultural-comment/the-cancer-scams-that-foreshadowed-maha#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-10" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67a3c26f05d5a7075deb6fab/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67a3c26f05d5a7075deb6fab/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67a3c26f05d5a7075deb6fab/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67a3c26f05d5a7075deb6fab/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67a3c26f05d5a7075deb6fab/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67a3c26f05d5a7075deb6fab/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67a3c26f05d5a7075deb6fab/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Cancer Scams That Foreshadowed MAHA" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67a3c26f05d5a7075deb6fab/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Long before R.F.K., Jr., promised to “Make America Healthy Again,” wellness influencers were peddling a seductive promise of purity to the desperately sick.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Jessica Winter</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{&quot;dangerousHed&quot;:&quot;Mourning David Lynch in a City on Fire&quot;,&quot;index&quot;:10,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/news/letter-from-los-angeles/mourning-david-lynch-in-a-city-on-fire#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/letter-from-los-angeles/mourning-david-lynch-in-a-city-on-fire#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-11" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_240,c_limit/undefined 240w, 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href="https://www.newyorker.com/news/letter-from-los-angeles/mourning-david-lynch-in-a-city-on-fire#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Mourning David Lynch in a City on Fire</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/letter-from-los-angeles/mourning-david-lynch-in-a-city-on-fire#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-11" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_240,c_limit/undefined 240w, 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March&quot;,&quot;index&quot;:11,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;https://www.newyorker.com/books/under-review/the-other-side-of-shermans-march#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/books/under-review/the-other-side-of-shermans-march#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-12" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu 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href="https://www.newyorker.com/books/under-review/the-other-side-of-shermans-march#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Other Side of Sherman’s March</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/books/under-review/the-other-side-of-shermans-march#intcid=_the-new-yorker-article-bottom-recirc_4cf00d71-c29e-4971-aa80-5b4f37526d9b_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-12" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6797be8651f898a164f06628/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6797be8651f898a164f06628/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6797be8651f898a164f06628/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6797be8651f898a164f06628/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6797be8651f898a164f06628/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6797be8651f898a164f06628/4:3/w_240,c_limit/undefined 240w, 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Gross writes about the Apple TV+ series “Silo,” a popular post-apocalyptic drama starring Rebecca Ferguson and Tim Robbins.","head.keywords":"post-apocalyptic,dystopias,future,tv shows,audio","head.og.type":"article","head.robots":"index, follow, noarchive, max-image-preview:large","head.title":"“Silo” and the Dystopia We Live In | The New Yorker","tenant":"the-new-yorker","head.social.title":"Are We Living in a Dystopia?","head.social.description":"The sci-fi series “Silo” is the latest in a string of popular post-apocalyptic dramas with an increasingly uncanny resonance.","head.promo.dek":"The sci-fi series “Silo” is the latest in a string of popular post-apocalyptic dramas with an increasingly uncanny resonance.","head.social.opinion":"false","head.jsonld":[{"@context":"http:\u002F\u002Fschema.org","@type":"NewsArticle","articleBody":"A post-apocalyptic story is something like a murder mystery in which the victim is life as we know it—“not a whodunnit but a howdidithappen,” as Jill Lepore wrote in this magazine, in 2017. Often, artifacts from our own time serve as clues about what has gone awry. In the first season of “Silo,” released in 2023, a string of ill-fated characters encounter “relics” that threaten to reveal dark truths about the origins of their underground refuge, and about what came before. They can’t figure out what a prehistoric Pez dispenser is for, but they can use the Silo’s ancient computers to read the files on a twentieth-century hard drive. A book called “Amazing Adventures in Georgia,” which might as well be set in Atlantis, includes photographs of long-lost animals, forests, and a beach at twilight.\nIn “Silo,” ten thousand people live on a hundred and forty-four subterranean levels, which are connected by an enormous spiral staircase. Working-class mechanics are consigned to the “down deep,” where they maintain a massive generator that powers, among other things, grow lights for crops. A managerial class, led by a mayor, a judge, a sheriff, and a head of I.T., lives in the “up top.” The only view of the outside comes from an aboveground camera, which shows a desolate hillside, some leafless trees, and the dead bodies of people who have left the Silo. The society’s worst punishment is “going out to clean”—being sent through an air lock to wipe dust off the camera lens, then die of whatever has tainted the air.\n“Silo” follows a classic dystopian structure: forbidden knowledge launches a hero’s quest for more forbidden knowledge, which may lead to triumph or tragedy. The hero of George Orwell’s “1984” is a bureaucrat whose discovery of a blank diary leads him to turn on his government; the hero of Ray Bradbury’s “Fahrenheit 451” is a professional book burner who starts to steal books. In “Silo,” as in these earlier works, powerful people act ruthlessly to keep secrets secret. But a hard-headed engineer named Juliette Nichols (Rebecca Ferguson) is unexpectedly promoted to sheriff and starts to investigate. “How did they lose this world?” is the question that drives the entire show, and, indeed, an entire genre.\nOne of the perverse pleasures of a dystopia is that we identify with its truth-seeking inhabitants as they try to find out who ruined their world—and, at the same time, we sense that we probably did. The desolation outside the Silo evokes the everyday terrors of our time: only a few years ago, governments ordered their citizens to shelter in place for fear of a novel virus, and, as I write this, many residents of Los Angeles have fled their homes in the face of wildfires or are staying indoors to avoid the smoke. Post-apocalyptic stories can, paradoxically, be comforting: at least the present day isn’t that bad. On the other hand, we may be drawn to dystopias because we fear we live in one.\nDuring President Trump’s first year in office, such stories were popular enough that Lepore’s piece proclaimed “a golden age for dystopian fiction.” (The term “dystopian,” which once referred to a utopia gone wrong, was also becoming more versatile; in 2023, Merriam-Webster noted that it had been applied to wildfire smoke, A.I. risks, and Republican predictions about the future of San Francisco.) As we approach the ultimate bad sequel, a second Trump Administration, post-apocalyptic dramas marked by pandemics (“The Last of Us,” “Station Eleven”), environmental catastrophe (“Snowpiercer,” “The End”), and the erosion of reproductive rights (“The Handmaid’s Tale,” “Furiosa”) have continued to proliferate. Many of them draw on decades-old source material that has taken on new relevance. When such works are successful, they are often described as “prescient” or “prophetic,” as though their creators saw the future and described it in art; when they are heavy-handed or make you want to look away, you might call them “too real.” But a better indication of a dystopia’s success may be that its world is at once alien and unsettlingly plausible.\nThe world of “Silo” is both, most of the time, though it occasionally defies physics (at one point, Juliette falls hundreds of feet and lives) and linguistics (Ferguson’s pesky Swedish accent is one of the few flaws in her performance). The books on which the show is based, published by the sci-fi writer Hugh Howey, starting in 2011, are also built on a dubious theory that history is not only cyclical but centrally planned, through written rules. As the second season wears on, this notion warps the plot in ways that strain credulity, and the series’ innumerable cliffhangers gum up the narrative with artificial tension. Still, the Silo is an inventive, absorbing setting, rendered in a retro-futurist mid-century style that compensates for the bleakness. The meticulous details of life underground, unspooled such that each answer raises another question, are a triumph of world-building—not only for us, the viewers, but also for the characters, who are solving a mystery, too.\nOne of the uses of speculative fiction—and of fiction in general—is that it allows us to look at our own world as a stranger might. In September, 1961, when the Soviet Union was preparing to test the largest nuclear bomb ever detonated, CBS aired “The Shelter,” an episode of “The Twilight Zone” that begins at a doctor’s birthday party, in a pleasant suburb of New York. In a toast, one of his neighbors gently mocks him for the racket he’s made while constructing an underground fallout shelter. A few minutes later, a radio broadcast announces a yellow alert: a radar system has detected a possible missile attack. The guests rush home in terror without another word.\nThe doctor is retreating behind a metal door when a neighbor returns. The man begs for, then demands, a spot in the shelter, but there’s space only for the doctor and his family. “I kept telling you . . . get ready,” he says. “To build a shelter was to admit to the kind of age we lived in, and none of you had the guts to face that!” Other neighbors arrive and bicker for a few minutes about who should be allowed in. Finally, they bash open the door with a heavy pipe. Then an update crackles across the radio. The radar blips were satellites; the alert was a false alarm.\n“The Shelter” did not depict a dystopia, at least not in the way we usually use that term. But these days the line is blurrier. After the wildfires erupted in L.A. last week, many turned to Octavia E. Butler’s 1993 novel, “Parable of the Sower,” which is set in the twenty-twenties and describes “whole blocks of boarded up buildings burning in Los Angeles.” Butler owned a house in Altadena, and her story opens in a desolate version of the city she knew, ravaged by inequality and climate change. Much of Altadena has now burned down; even the cemetery where Butler is buried caught fire. Still, her writings are not solely dystopian. They also suggest, very quietly, that a better world might be possible. Her grave is marked by a footstone that quotes the book: “All that you touch, you change. All that you change, changes you.” ♦","isBasedOn":"","articleSection":"on television","author":[{"@type":"Person","name":"Daniel A. 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Her first book, the essay collection “[Trick Mirror](https:\u002F\u002Fwww.amazon.com\u002FTrick-Mirror-Self-Delusion-Jia-Tolentino\u002Fdp\u002F000829495X),” was published in 2019.","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b79ebe912338a37865e","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b79ebe912338a37865d_tolentino-jia-1.png"}],"metadata":{"contentType":"photo"}},"bio":"Jia Tolentino has been a staff writer at *The New Yorker* since 2016, covering a range of topics in news and culture, including the age of [Instagram face](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fdecade-in-review\u002Fthe-age-of-instagram-face) and, with Ronan Farrow, [Britney Spears’s conservatorship nightmare](https:\u002F\u002Fwww.newyorker.com\u002Fnews\u002Famerican-chronicles\u002Fbritney-spears-conservatorship-nightmare). Previously, she was the deputy editor of Jezebel and a contributing editor at the Hairpin. In 2023, she won a National Magazine Award for her [columns](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F07\u002F04\u002Fwe-are-not-going-back-to-the-time-before-roe-we-are-going-somewhere-worse) and [essays](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fessay\u002Fis-abortion-sacred) on abortion. Her first book, the essay collection “[Trick Mirror](https:\u002F\u002Fwww.amazon.com\u002FTrick-Mirror-Jia-Tolentino\u002Fdp\u002F0525510540),” was published in 2019.","socialMedia":[{"handle":"jiatolentino","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"rabbit-holes","name":"Rabbit Holes"},"channels":[{"name":"Rabbit Holes"}],"hed":"The Repressive, Authoritarian Soul of “Thomas the Tank Engine & Friends”","dek":"","promoHed":"The Repressive, Authoritarian Soul of “Thomas the Tank Engine & Friends”","promoDek":"","url":"culture\u002Frabbit-holes\u002Fthe-repressive-authoritarian-soul-of-thomas-the-tank-engine-and-friends","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59b17b923bdfa71b1433bdc3\u002Fmaster\u002Fpass\u002FTolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","altText":"Toy trains with smiling faces traversing a snow-covered track","aspectRatios":[{"name":"2:1","url":null,"width":3150,"height":1575,"format":null,"modifications":{"crop":{"height":1575,"width":3150,"x":0,"y":488}}},{"name":"2:2","url":null,"width":2094,"height":2094,"format":null,"modifications":{"crop":{"height":2094,"width":2094,"x":756,"y":0}}},{"name":"16:9","url":null,"width":3135,"height":1763,"format":null,"modifications":{"crop":{"height":1763,"width":3135,"x":14,"y":332}}},{"name":"4:3","url":null,"width":2615,"height":1961,"format":null,"modifications":{"crop":{"height":1961,"width":2615,"x":281,"y":134}}},{"name":"1:1","url":null,"width":2095,"height":2095,"format":null,"modifications":{"crop":{"height":2095,"width":2095,"x":555,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F09\u002F07\u002F59b17b9212651c1b1421f77f_Tolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","width":3150,"height":2096,"format":"JPEG","modifications":null}],"caption":"Wilbert Awdry, who created Thomas the Tank Engine, disliked change, venerated order, and craved the administration of punishment.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph by PBS via Everett","filename":"Tolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","id":"59b17b923bdfa71b1433bdc3","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"tout":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59b17b923bdfa71b1433bdc3\u002Fmaster\u002Fpass\u002FTolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","altText":"Toy trains with smiling faces traversing a snow-covered track","aspectRatios":[{"name":"2:1","url":null,"width":3150,"height":1575,"format":null,"modifications":{"crop":{"height":1575,"width":3150,"x":0,"y":488}}},{"name":"2:2","url":null,"width":2094,"height":2094,"format":null,"modifications":{"crop":{"height":2094,"width":2094,"x":756,"y":0}}},{"name":"16:9","url":null,"width":3135,"height":1763,"format":null,"modifications":{"crop":{"height":1763,"width":3135,"x":14,"y":332}}},{"name":"4:3","url":null,"width":2615,"height":1961,"format":null,"modifications":{"crop":{"height":1961,"width":2615,"x":281,"y":134}}},{"name":"1:1","url":null,"width":2095,"height":2095,"format":null,"modifications":{"crop":{"height":2095,"width":2095,"x":555,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F09\u002F07\u002F59b17b9212651c1b1421f77f_Tolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","width":3150,"height":2096,"format":"JPEG","modifications":null}],"caption":"Wilbert Awdry, who created Thomas the Tank Engine, disliked change, venerated order, and craved the administration of punishment.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph by PBS via Everett","filename":"Tolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","id":"59b17b923bdfa71b1433bdc3","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"metadata":{"contentType":"article"}},{"__typename":"Article","id":"59c41bf7c6b56222ba223aa6","allContributors":{"edges":[{"node":{"__typename":"Contributor","id":"590b95026c4c222f03a822b4","url":"contributors\u002Falan-burdick","name":"Alan Burdick","title":"Alan Burdick is the author, most recently, of “[Why Time Flies: A Mostly Scientific Investigation](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F141654027X\u002F?tag=thneyo0f-20).”","type":"AUTHOR","contributorType":"AUTHOR","photo":null,"bio":"Alan Burdick, a former staff writer, joined _The New Yorker_ in 2012, first as a senior editor and then also as the editor of Elements, newyorker.com’s science-and-tech blog. He worked previously as an editor at the _Times Magazine_, _Discover_, and _OnEarth_, and as a writer and producer at the American Museum of Natural History. He has written for magazines including _Harper_’_s_ and _GQ_, and is the author, most recently, of “[Why Time Flies: A Mostly Scientific Investigation](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F141654027X\u002F?tag=thneyo0f-20).” His previous book, “[Out of Eden: An Odyssey of Ecological Invasion](https:\u002F\u002Fwww.amazon.com\u002FOut-Eden-Odyssey-Ecological-Invasion\u002Fdp\u002F0374530432),” from 2005, was a finalist for the National Book Award and won the Overseas Press Club Award for environmental reporting.","socialMedia":[{"handle":"alanburdick","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"elements","name":"Elements"},"channels":[{"name":"Elements"}],"hed":"Why the Last Snow on Earth May Be Red","dek":"","promoHed":"Why the Last Snow on Earth May Be Red","promoDek":"As the glaciers of the world thaw, one colorful group of microorganisms is 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Previously, she was the deputy editor of Jezebel and a contributing editor at the Hairpin. In 2023, she won a National Magazine Award for her [columns](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F07\u002F04\u002Fwe-are-not-going-back-to-the-time-before-roe-we-are-going-somewhere-worse) and [essays](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fessay\u002Fis-abortion-sacred) on abortion. Her first book, the essay collection “[Trick Mirror](https:\u002F\u002Fwww.amazon.com\u002FTrick-Mirror-Jia-Tolentino\u002Fdp\u002F0525510540),” was published in 2019.","socialMedia":[{"handle":"jiatolentino","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"rabbit-holes","name":"Rabbit Holes"},"channels":[{"name":"Rabbit Holes"}],"hed":"The Repressive, Authoritarian Soul of “Thomas the Tank Engine & Friends”","dek":"","promoHed":"The Repressive, Authoritarian Soul of “Thomas the Tank Engine & Friends”","promoDek":"","url":"culture\u002Frabbit-holes\u002Fthe-repressive-authoritarian-soul-of-thomas-the-tank-engine-and-friends","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59b17b923bdfa71b1433bdc3\u002Fmaster\u002Fpass\u002FTolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","altText":"Toy trains with smiling faces traversing a snow-covered track","aspectRatios":[{"name":"2:1","url":null,"width":3150,"height":1575,"format":null,"modifications":{"crop":{"height":1575,"width":3150,"x":0,"y":488}}},{"name":"2:2","url":null,"width":2094,"height":2094,"format":null,"modifications":{"crop":{"height":2094,"width":2094,"x":756,"y":0}}},{"name":"16:9","url":null,"width":3135,"height":1763,"format":null,"modifications":{"crop":{"height":1763,"width":3135,"x":14,"y":332}}},{"name":"4:3","url":null,"width":2615,"height":1961,"format":null,"modifications":{"crop":{"height":1961,"width":2615,"x":281,"y":134}}},{"name":"1:1","url":null,"width":2095,"height":2095,"format":null,"modifications":{"crop":{"height":2095,"width":2095,"x":555,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F09\u002F07\u002F59b17b9212651c1b1421f77f_Tolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","width":3150,"height":2096,"format":"JPEG","modifications":null}],"caption":"Wilbert Awdry, who created Thomas the Tank Engine, disliked change, venerated order, and craved the administration of punishment.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph by PBS via Everett","filename":"Tolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","id":"59b17b923bdfa71b1433bdc3","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"tout":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59b17b923bdfa71b1433bdc3\u002Fmaster\u002Fpass\u002FTolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","altText":"Toy trains with smiling faces traversing a snow-covered track","aspectRatios":[{"name":"2:1","url":null,"width":3150,"height":1575,"format":null,"modifications":{"crop":{"height":1575,"width":3150,"x":0,"y":488}}},{"name":"2:2","url":null,"width":2094,"height":2094,"format":null,"modifications":{"crop":{"height":2094,"width":2094,"x":756,"y":0}}},{"name":"16:9","url":null,"width":3135,"height":1763,"format":null,"modifications":{"crop":{"height":1763,"width":3135,"x":14,"y":332}}},{"name":"4:3","url":null,"width":2615,"height":1961,"format":null,"modifications":{"crop":{"height":1961,"width":2615,"x":281,"y":134}}},{"name":"1:1","url":null,"width":2095,"height":2095,"format":null,"modifications":{"crop":{"height":2095,"width":2095,"x":555,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F09\u002F07\u002F59b17b9212651c1b1421f77f_Tolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","width":3150,"height":2096,"format":"JPEG","modifications":null}],"caption":"Wilbert Awdry, who created Thomas the Tank Engine, disliked change, venerated order, and craved the administration of punishment.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph by PBS via Everett","filename":"Tolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","id":"59b17b923bdfa71b1433bdc3","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"metadata":{"contentType":"article"}},{"__typename":"Article","id":"59c41bf7c6b56222ba223aa6","allContributors":{"edges":[{"node":{"__typename":"Contributor","id":"590b95026c4c222f03a822b4","url":"contributors\u002Falan-burdick","name":"Alan Burdick","title":"Alan Burdick is the author, most recently, of “[Why Time Flies: A Mostly Scientific Investigation](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F141654027X\u002F?tag=thneyo0f-20).”","type":"AUTHOR","contributorType":"AUTHOR","photo":null,"bio":"Alan Burdick, a former staff writer, joined _The New Yorker_ in 2012, first as a senior editor and then also as the editor of Elements, newyorker.com’s science-and-tech blog. He worked previously as an editor at the _Times Magazine_, _Discover_, and _OnEarth_, and as a writer and producer at the American Museum of Natural History. He has written for magazines including _Harper_’_s_ and _GQ_, and is the author, most recently, of “[Why Time Flies: A Mostly Scientific Investigation](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F141654027X\u002F?tag=thneyo0f-20).” His previous book, “[Out of Eden: An Odyssey of Ecological Invasion](https:\u002F\u002Fwww.amazon.com\u002FOut-Eden-Odyssey-Ecological-Invasion\u002Fdp\u002F0374530432),” from 2005, was a finalist for the National Book Award and won the Overseas Press Club Award for environmental reporting.","socialMedia":[{"handle":"alanburdick","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"elements","name":"Elements"},"channels":[{"name":"Elements"}],"hed":"Why the Last Snow on Earth May Be Red","dek":"","promoHed":"Why the Last Snow on Earth May Be Red","promoDek":"As the glaciers of the world thaw, one colorful group of microorganisms is 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His most recent book is “[Wildland: The Making of America’s Fury](https:\u002F\u002Fwww.amazon.com\u002FWildland-Making-Americas-Evan-Osnos\u002Fdp\u002F0374286671).”","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b75c14b3c606c109454","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b75c14b3c606c109453_osnos-evan.png"}],"metadata":{"contentType":"photo"}},"bio":"Evan Osnos joined *The New Yorker* as a staff writer in 2008. His coverage ranges from politics and foreign affairs to white-collar crime and espionage. He has written Profiles of Joe Biden and Xi Jinping, visited North Korea during the nuclear crisis of 2017, and reported from the siege at the U.S. Capitol on January 6, 2021. His first book, “[Age of Ambition: Chasing Fortune, Truth, and Faith in the New China](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0374535272\u002F?ots=1&slotNum=0&imprToken=debfbb15-ec09-ab29-90e&tag=thneyo0f-20),” based on his experience of living in Beijing for eight years, won the 2014 National Book Award and was a finalist for the Pulitzer Prize. In 2020, Osnos published “[Joe Biden: The Life, the Run, and What Matters Now](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F1982174021\u002F?ots=1&slotNum=1&imprToken=debfbb15-ec09-ab29-90e&tag=thneyo0f-20).” His most recent book is “[Wildland: The Making of America’s Fury](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0374286671\u002F?ots=1&slotNum=2&imprToken=debfbb15-ec09-ab29-90e&tag=thneyo0f-20).”\n\nPreviously, Osnos worked as the Beijing bureau chief for the Chicago *Tribune*, where he was part of a team that won the 2008 Pulitzer Prize for investigative reporting. 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His most recent book is “[Wildland: The Making of America’s Fury](https:\u002F\u002Fwww.amazon.com\u002FWildland-Making-Americas-Evan-Osnos\u002Fdp\u002F0374286671).”","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b75c14b3c606c109454","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b75c14b3c606c109453_osnos-evan.png"}],"metadata":{"contentType":"photo"}},"bio":"Evan Osnos joined *The New Yorker* as a staff writer in 2008. His coverage ranges from politics and foreign affairs to white-collar crime and espionage. He has written Profiles of Joe Biden and Xi Jinping, visited North Korea during the nuclear crisis of 2017, and reported from the siege at the U.S. Capitol on January 6, 2021. 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His most recent book is “[Wildland: The Making of America’s Fury](https:\u002F\u002Fwww.amazon.com\u002FWildland-Making-Americas-Evan-Osnos\u002Fdp\u002F0374286671).”","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b75c14b3c606c109454","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b75c14b3c606c109453_osnos-evan.png"}],"metadata":{"contentType":"photo"}},"bio":"Evan Osnos joined *The New Yorker* as a staff writer in 2008. His coverage ranges from politics and foreign affairs to white-collar crime and espionage. He has written Profiles of Joe Biden and Xi Jinping, visited North Korea during the nuclear crisis of 2017, and reported from the siege at the U.S. Capitol on January 6, 2021. 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has-dropcap__lead-standard-heading paywall"},"In a recent episode of “Silo,” the sci-fi series from Apple TV+, a character who does not have long to live puts on a virtual-reality headset. She’s spent her entire life in a subterranean shelter, which descends more than a mile into the earth like an upside-down skyscraper. What she sees in the headset is totally alien: the cloud forests of Costa Rica, recorded in the bygone year of 2018. We never see the red-eyed tree frog and iridescent birds that appear on her screen; instead, we watch her reach out and close her fingers on empty space. “So beautiful,” she says. Then she refers to us, the people of the twenty-first century: “How did they lose this world?”"]],["p",{"class":"paywall"},"A post-apocalyptic story is something like a murder mystery in which the victim is life as we know it—“not a whodunnit but a howdidithappen,” as Jill Lepore ",["a",{"href":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2017\u002F06\u002F05\u002Fa-golden-age-for-dystopian-fiction","isExternal":false},"wrote"]," in this magazine, in 2017. Often, artifacts from our own time serve as clues about what has gone awry. In the first season of “Silo,” released in 2023, a string of ill-fated characters encounter “relics” that threaten to reveal dark truths about the origins of their underground refuge, and about what came before. They can’t figure out what a prehistoric Pez dispenser is for, but they can use the Silo’s ancient computers to read the files on a twentieth-century hard drive. A book called “Amazing Adventures in Georgia,” which might as well be set in Atlantis, includes photographs of long-lost animals, forests, and a beach at twilight."],["p",{"class":"paywall"},"In “Silo,” ten thousand people live on a hundred and forty-four subterranean levels, which are connected by an enormous spiral staircase. Working-class mechanics are consigned to the “down deep,” where they maintain a massive generator that powers, among other things, grow lights for crops. A managerial class, led by a mayor, a judge, a sheriff, and a head of I.T., lives in the “up top.” The only view of the outside comes from an aboveground camera, which shows a desolate hillside, some leafless trees, and the dead bodies of people who have left the Silo. The society’s worst punishment is “going out to clean”—being sent through an air lock to wipe dust off the camera lens, then die of whatever has tainted the air."],["journey-inline-newsletter",{"newsletterType":"slim-newsletter","newsletters":[]}],["inline-newsletter",{"newsletterType":"slim-newsletter","newsletters":[]}],["p",{"class":"paywall"},"“Silo” follows a classic dystopian structure: forbidden knowledge launches a hero’s quest for more forbidden knowledge, which may lead to triumph or tragedy. The hero of George Orwell’s “",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002F1984-Signet-Classics-George-Orwell\u002Fdp\u002F0451524934","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002F1984-Signet-Classics-George-Orwell\u002Fdp\u002F0451524934"},"isExternal":true},"1984"],"” is a bureaucrat whose discovery of a blank diary leads him to turn on his government; the hero of Ray Bradbury’s “",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002FFahrenheit-451-Ray-Bradbury\u002Fdp\u002F1451673310","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002FFahrenheit-451-Ray-Bradbury\u002Fdp\u002F1451673310"},"isExternal":true},"Fahrenheit 451"],"” is a professional book burner who starts to steal books. In “Silo,” as in these earlier works, powerful people act ruthlessly to keep secrets secret. But a hard-headed engineer named Juliette Nichols (Rebecca Ferguson) is unexpectedly promoted to sheriff and starts to investigate. “How did they lose this world?” is the question that drives the entire show, and, indeed, an entire genre."],["p",{"class":"paywall"},"One of the perverse pleasures of a dystopia is that we identify with its truth-seeking inhabitants as they try to find out who ruined their world—and, at the same time, we sense that we probably did. The desolation outside the Silo evokes the everyday terrors of our time: only a few years ago, governments ordered their citizens to shelter in place for fear of a novel virus, and, as I write this, many residents of Los Angeles have fled their homes in the face of wildfires or are staying indoors to avoid the smoke. Post-apocalyptic stories can, paradoxically, be comforting: at least the present day isn’t ",["em","that"]," bad. On the other hand, we may be drawn to dystopias because we fear we live in one."],["inline-embed",{"type":"cneinterlude","props":{"brand":"newyorker","embeddedVideos":[],"hasExcludedEmbed":false,"playerBase":"https:\u002F\u002Fplayer.cnevids.com","isRightRail":false,"relatedVideo":{"showRelatedVideo":false,"brand":"newyorker","related":null,"pageSize":12}}}],["p",{"class":"paywall"},"During President Trump’s first year in office, such stories were popular enough that Lepore’s piece proclaimed “a golden age for dystopian fiction.” (The term “dystopian,” which once referred to a utopia gone wrong, was also becoming more versatile; in 2023, Merriam-Webster noted that it had been applied to wildfire smoke, A.I. risks, and Republican predictions about the future of San Francisco.) As we approach the ultimate bad sequel, a second Trump Administration, post-apocalyptic dramas marked by pandemics (“",["a",{"href":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F01\u002F23\u002Fthe-last-of-us-review-hbo","isExternal":false},"The Last of Us"],",” “",["a",{"href":"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fon-television\u002Fin-station-eleven-all-art-is-adaptation","isExternal":false},"Station Eleven"],"”), environmental catastrophe (“Snowpiercer,” “",["a",{"href":"https:\u002F\u002Fwww.newyorker.com\u002Fgoings-on-about-town\u002Fthe-end-12-09-24","isExternal":false},"The End"],"”), and the erosion of reproductive rights (“",["a",{"href":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2017\u002F05\u002F22\u002Fa-cunning-adaptation-of-the-handmaids-tale","isExternal":false},"The Handmaid’s Tale"],",” “",["a",{"href":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2024\u002F06\u002F03\u002Ffuriosa-a-mad-max-saga-movie-review","isExternal":false},"Furiosa"],"”) have continued to proliferate. Many of them draw on decades-old source material that has taken on new relevance. When such works are successful, they are often described as “prescient” or “prophetic,” as though their creators saw the future and described it in art; when they are heavy-handed or make you want to look away, you might call them “too real.” But a better indication of a dystopia’s success may be that its world is at once alien and unsettlingly plausible."],["cm-unit"],["p",{"class":"paywall"},"The world of “Silo” is both, most of the time, though it occasionally defies physics (at one point, Juliette falls hundreds of feet and lives) and linguistics (Ferguson’s pesky Swedish accent is one of the few flaws in her performance). The ",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002FWool-Hugh-Howey\u002Fdp\u002F0358447844","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002FWool-Hugh-Howey\u002Fdp\u002F0358447844"},"isExternal":true},"books"]," on which the show is based, published by the sci-fi writer Hugh Howey, starting in 2011, are also built on a dubious theory that history is not only cyclical but centrally planned, through written rules. As the second season wears on, this notion warps the plot in ways that strain credulity, and the series’ innumerable cliffhangers gum up the narrative with artificial tension. Still, the Silo is an inventive, absorbing setting, rendered in a retro-futurist mid-century style that compensates for the bleakness. The meticulous details of life underground, unspooled such that each answer raises another question, are a triumph of world-building—not only for us, the viewers, but also for the characters, who are solving a mystery, too."],["p",{"class":"paywall"},"One of the uses of speculative fiction—and of fiction in general—is that it allows us to look at our own world as a stranger might. In September, 1961, when the Soviet Union was preparing to test the largest nuclear bomb ever detonated, CBS aired “The Shelter,” an episode of “The Twilight Zone” that begins at a doctor’s birthday party, in a pleasant suburb of New York. In a toast, one of his neighbors gently mocks him for the racket he’s made while constructing an underground fallout shelter. A few minutes later, a radio broadcast announces a yellow alert: a radar system has detected a possible missile attack. The guests rush home in terror without another word."],["p",{"class":"paywall"},"The doctor is retreating behind a metal door when a neighbor returns. The man begs for, then demands, a spot in the shelter, but there’s space only for the doctor and his family. “I kept telling you . . . get ready,” he says. “To build a shelter was to admit to the kind of age we lived in, and none of you had the guts to face that!” Other neighbors arrive and bicker for a few minutes about who should be allowed in. Finally, they bash open the door with a heavy pipe. Then an update crackles across the radio. The radar blips were satellites; the alert was a false alarm."],["p",{"class":"paywall"},"“The Shelter” did not depict a dystopia, at least not in the way we usually use that term. But these days the line is blurrier. After the ",["a",{"href":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2025\u002F01\u002F20\u002Fon-the-ground-during-las-wildfire-emergency","isExternal":false},"wildfires erupted in L.A."]," last week, many turned to Octavia E. Butler’s 1993 novel, “",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002FParable-Sower-Earthseed-Octavia-Butler\u002Fdp\u002F0446675504","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002FParable-Sower-Earthseed-Octavia-Butler\u002Fdp\u002F0446675504"},"isExternal":true},"Parable of the Sower"],",” which is set in the twenty-twenties and describes “whole blocks of boarded up buildings burning in Los Angeles.” Butler owned a house in Altadena, and her story opens in a desolate version of the city she knew, ravaged by inequality and climate change. Much of Altadena has now burned down; even the cemetery where Butler is buried caught fire. Still, her writings are not solely dystopian. They also suggest, very quietly, that a better world might be possible. Her grave is marked by a footstone that quotes the book: “All that you touch, you change. All that you change, changes you.” ♦"]],"pageStructure":[["inline-embed",0,"cneaudio"],["inline-embed",238,"callout"],["p",137],["p",124],["p",118],["p",127],["inline-embed",0,"cneinterlude"],["p",188],["cm-unit",0],["p",161],["p",116],["p",109],["p",150]],"hasAffiliateLinks":true,"affiliateLinksCount":4,"isCommerceContent":true,"contributorSpotLightProps":{"header":{"name":"Daniel A. Gross","title":"Daniel A. 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