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ul li:first-of-type{margin:0 10px 0 0;}.ewYXSE .BasePageMainContent-kFvAuh .MultiPackageContainer-bmyTSN > .product__carousel ul li:last-of-type{margin:0 0 0 10px;}.ewYXSE .BasePageMainContent-kFvAuh .MultiPackageContainer-bmyTSN > .product__carousel ul li{margin:0 10px 0 10px;}}/*!sc*/ .ewYXSE .BasePageMainContent-kFvAuh .MultiPackageContainer-bmyTSN > div > div[data-testid='SummaryRiverWrapper'] section[data-testid='SummaryRiverSection'] .summary-item--bundle{grid-column-gap:var(--grid-gap);margin:0;}/*!sc*/ @media (min-width:320px){.ewYXSE .summary-item--bundle .summary-item__content{width:auto;}}/*!sc*/ @media (min-width:768px){.ewYXSE .summary-item--bundle .summary-item__content{padding-right:0;padding-left:0;}}/*!sc*/ @media (min-width:768px){.ewYXSE .summary-item--bundle .summary-item__content{margin:0;}}/*!sc*/ @media (min-width:768px){.ewYXSE .summary-item--bundle .summary-item__hed,.ewYXSE .summary-item--bundle .summary-item__byline{margin:0;}}/*!sc*/ @media 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data-testid="SectionHeaderSubhed">What to watch, listen to, and do in New York City, online, and beyond.</p></div></div></div></header><div class="MultiPackageContainer-bmyTSN gZIazj multi-packages"><div data-testid="RowWrapper" data-journey-hook="row-content" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan MultiPackageBaseRow-gSnwPR MultiPackageRow-cnuYUr knBfzx gDWvUl"><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan FeaturesRow-fFHjAg kQkRwY verso-features"><div data-testid="SummaryCollageOneSingleFeature" class="SummaryCollageOneGridWithMargin-jQiZuW bvnqfa summary-collage-one"><div class="SummaryItemWrapper-iwvBff kJuTzh summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-center summary-item--layout-placement-side-by-side-desktop-only summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center 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https://media.newyorker.com/photos/67d99797d046697785af4d2c/4:3/w_640,c_limit/r45764%20copy.jpg 640w" sizes="100vw"/><img alt="What to Watch That Isn’t “The White Lotus”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d99797d046697785af4d2c/4:3/w_768%2Cc_limit/r45764%2520copy.jpg"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl fSburJ summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN gYIzIS summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Goings On</span></div></div><a class="SummaryItemHedLink-civMjp bMCiCb summary-item-tracking__hed-link summary-item__hed-link" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/goings-on/what-to-watch-that-isnt-the-white-lotus" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">What to Watch That Isn’t “The White Lotus”</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Also: the audacious Andy Kaufman; Richard Learoyd’s haunting new photography; and the Wooster Group gets wistful.</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 jYjxgY bylines"><span class="BylineWrapper-jWHrLH YYNuC 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>Sheldon Pearce,</span> <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Helen Shaw,</span> <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Jane Bua,</span> <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Vince Aletti,</span> <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Brian Seibert,</span> <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Richard Brody,</span> <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Inkoo Kang,</span> and <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Helen Rosner</span></span></span></div></div></div></div></div></div></div></div></div><div class="ticker-view" data-journey-hook="row-content"><div class="TickerWrapper-gzXWCq rLzXB"><div class="ConsumerMarketingUnitThemedWrapper-iUTMTf jssHut consumer-marketing-unit 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class="SummaryCollectionGridItems-DZShR fEdtRI hide-read-more-ad" data-testid="SummaryCollectionGridItems"><div class="SummaryItemWrapper-iwvBff cJhxdP summary-item summary-item--has-border summary-item--has-mobile-border 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 gyTvwi" data-item="{"dangerousHed":"Laurie Santos’s Pursuit of Happiness","id":"67d0a2bf4018a66aa4c229c6","index":0,"contentType":"venue","hotelLink":"/books/book-currents/laurie-santoss-pursuit-of-happiness","layout":"GridFourColumns"}" 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="/books/book-currents/laurie-santoss-pursuit-of-happiness" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67d1d3f0b2f82917f5109156/4:3/w_120,c_limit/Laurie_Santos_Book_Currents.jpg 120w, https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_240,c_limit/Laurie_Santos_Book_Currents.jpg 240w, https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_320,c_limit/Laurie_Santos_Book_Currents.jpg 320w, https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_640,c_limit/Laurie_Santos_Book_Currents.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_120,c_limit/Laurie_Santos_Book_Currents.jpg 120w, https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_240,c_limit/Laurie_Santos_Book_Currents.jpg 240w, https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_320,c_limit/Laurie_Santos_Book_Currents.jpg 320w, https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_640,c_limit/Laurie_Santos_Book_Currents.jpg 640w, https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_960,c_limit/Laurie_Santos_Book_Currents.jpg 960w, https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_1280,c_limit/Laurie_Santos_Book_Currents.jpg 1280w, https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_1600,c_limit/Laurie_Santos_Book_Currents.jpg 1600w" sizes="100vw"/><img alt="Laurie Santos’s Pursuit of Happiness" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_1600%2Cc_limit/Laurie_Santos_Book_Currents.jpg"/></noscript></picture></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">Book Currents</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/books/book-currents/laurie-santoss-pursuit-of-happiness" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Laurie Santos’s Pursuit of Happiness</h3></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="/books/book-currents/laurie-santoss-pursuit-of-happiness" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67d1d3f0b2f82917f5109156/4:3/w_120,c_limit/Laurie_Santos_Book_Currents.jpg 120w, https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_240,c_limit/Laurie_Santos_Book_Currents.jpg 240w, https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_320,c_limit/Laurie_Santos_Book_Currents.jpg 320w, https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_640,c_limit/Laurie_Santos_Book_Currents.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_120,c_limit/Laurie_Santos_Book_Currents.jpg 120w, https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_240,c_limit/Laurie_Santos_Book_Currents.jpg 240w, https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_320,c_limit/Laurie_Santos_Book_Currents.jpg 320w, https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_640,c_limit/Laurie_Santos_Book_Currents.jpg 640w, https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_960,c_limit/Laurie_Santos_Book_Currents.jpg 960w, https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_1280,c_limit/Laurie_Santos_Book_Currents.jpg 1280w, https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_1600,c_limit/Laurie_Santos_Book_Currents.jpg 1600w" sizes="100vw"/><img alt="Laurie Santos’s Pursuit of Happiness" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d1d3f0b2f82917f5109156/4:3/w_1600%2Cc_limit/Laurie_Santos_Book_Currents.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Yale’s resident well-being expert talks about what it means to live a good life and shares some books that might help us get within reach of one.</div></div></div><div class="SummaryItemWrapper-iwvBff cJhxdP summary-item summary-item--has-border summary-item--has-mobile-border 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 gyTvwi" data-item="{"dangerousHed":"The Best Books We Read This Week","id":"677eb3177b34bf69b0083f8d","index":1,"contentType":"venue","hotelLink":"/best-books-2025","layout":"GridFourColumns"}" 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="/best-books-2025" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/678fb9b33a04fd03830bec3a/4:3/w_120,c_limit/Books_Desktop_1.gif 120w, https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_240,c_limit/Books_Desktop_1.gif 240w, https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_320,c_limit/Books_Desktop_1.gif 320w, https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_640,c_limit/Books_Desktop_1.gif 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_120,c_limit/Books_Desktop_1.gif 120w, https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_240,c_limit/Books_Desktop_1.gif 240w, https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_320,c_limit/Books_Desktop_1.gif 320w, https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_640,c_limit/Books_Desktop_1.gif 640w, https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_960,c_limit/Books_Desktop_1.gif 960w, https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_1280,c_limit/Books_Desktop_1.gif 1280w, https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_1600,c_limit/Books_Desktop_1.gif 1600w" sizes="100vw"/><img alt="The Best Books We Read This Week" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_1600%2Cc_limit/Books_Desktop_1.gif"/></noscript></picture></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">Under Review</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/best-books-2025" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Best Books We Read This Week</h3></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="/best-books-2025" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/678fb9b33a04fd03830bec3a/4:3/w_120,c_limit/Books_Desktop_1.gif 120w, https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_240,c_limit/Books_Desktop_1.gif 240w, https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_320,c_limit/Books_Desktop_1.gif 320w, https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_640,c_limit/Books_Desktop_1.gif 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_120,c_limit/Books_Desktop_1.gif 120w, https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_240,c_limit/Books_Desktop_1.gif 240w, https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_320,c_limit/Books_Desktop_1.gif 320w, https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_640,c_limit/Books_Desktop_1.gif 640w, https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_960,c_limit/Books_Desktop_1.gif 960w, https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_1280,c_limit/Books_Desktop_1.gif 1280w, https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_1600,c_limit/Books_Desktop_1.gif 1600w" sizes="100vw"/><img alt="The Best Books We Read This Week" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/678fb9b33a04fd03830bec3a/4:3/w_1600%2Cc_limit/Books_Desktop_1.gif"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Our editors and critics review notable new fiction, nonfiction, and poetry.</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>The New Yorker</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff cJhxdP summary-item summary-item--has-border summary-item--has-mobile-border 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 gyTvwi" data-item="{"dangerousHed":"The Ecstatic Intimacies of Joe Brainard","id":"67c754fb62b940284260322a","index":2,"contentType":"venue","hotelLink":"/books/under-review/the-ecstatic-intimacies-of-joe-brainard","layout":"GridFourColumns"}" 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="/books/under-review/the-ecstatic-intimacies-of-joe-brainard" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67d9f6273d43511fc90a795b/4:3/w_120,c_limit/JoeBrainard_Hujar.jpg 120w, https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_240,c_limit/JoeBrainard_Hujar.jpg 240w, https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_320,c_limit/JoeBrainard_Hujar.jpg 320w, https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_640,c_limit/JoeBrainard_Hujar.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_120,c_limit/JoeBrainard_Hujar.jpg 120w, https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_240,c_limit/JoeBrainard_Hujar.jpg 240w, https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_320,c_limit/JoeBrainard_Hujar.jpg 320w, https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_640,c_limit/JoeBrainard_Hujar.jpg 640w, https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_960,c_limit/JoeBrainard_Hujar.jpg 960w, https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_1280,c_limit/JoeBrainard_Hujar.jpg 1280w, https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_1600,c_limit/JoeBrainard_Hujar.jpg 1600w" sizes="100vw"/><img alt="The Ecstatic Intimacies of Joe Brainard" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_1600%2Cc_limit/JoeBrainard_Hujar.jpg"/></noscript></picture></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">Under Review</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/books/under-review/the-ecstatic-intimacies-of-joe-brainard" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Ecstatic Intimacies of Joe Brainard</h3></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="/books/under-review/the-ecstatic-intimacies-of-joe-brainard" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67d9f6273d43511fc90a795b/4:3/w_120,c_limit/JoeBrainard_Hujar.jpg 120w, https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_240,c_limit/JoeBrainard_Hujar.jpg 240w, https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_320,c_limit/JoeBrainard_Hujar.jpg 320w, https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_640,c_limit/JoeBrainard_Hujar.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_120,c_limit/JoeBrainard_Hujar.jpg 120w, https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_240,c_limit/JoeBrainard_Hujar.jpg 240w, https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_320,c_limit/JoeBrainard_Hujar.jpg 320w, https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_640,c_limit/JoeBrainard_Hujar.jpg 640w, https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_960,c_limit/JoeBrainard_Hujar.jpg 960w, https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_1280,c_limit/JoeBrainard_Hujar.jpg 1280w, https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_1600,c_limit/JoeBrainard_Hujar.jpg 1600w" sizes="100vw"/><img alt="The Ecstatic Intimacies of Joe Brainard" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d9f6273d43511fc90a795b/4:3/w_1600%2Cc_limit/JoeBrainard_Hujar.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The multitalented poet, painter, and cartoonist made work first and foremost to delight.</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>David S. Wallace</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff cJhxdP summary-item summary-item--has-border summary-item--has-mobile-border 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 gyTvwi" data-item="{"dangerousHed":"Pedro Lemebel, a Radical Voice for Calamitous Times","id":"67b4c057480363af69eb01c4","index":3,"contentType":"venue","hotelLink":"/books/page-turner/pedro-lemebel-a-radical-voice-for-calamitous-times","layout":"GridFourColumns"}" 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="/books/page-turner/pedro-lemebel-a-radical-voice-for-calamitous-times" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67b6034db76fad4c63783287/4:3/w_120,c_limit/Mochkofsky-Lemebel.jpg 120w, https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_240,c_limit/Mochkofsky-Lemebel.jpg 240w, https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_320,c_limit/Mochkofsky-Lemebel.jpg 320w, https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_640,c_limit/Mochkofsky-Lemebel.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_120,c_limit/Mochkofsky-Lemebel.jpg 120w, https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_240,c_limit/Mochkofsky-Lemebel.jpg 240w, https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_320,c_limit/Mochkofsky-Lemebel.jpg 320w, https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_640,c_limit/Mochkofsky-Lemebel.jpg 640w, https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_960,c_limit/Mochkofsky-Lemebel.jpg 960w, https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_1280,c_limit/Mochkofsky-Lemebel.jpg 1280w, https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_1600,c_limit/Mochkofsky-Lemebel.jpg 1600w" sizes="100vw"/><img alt="Pedro Lemebel, a Radical Voice for Calamitous Times" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_1600%2Cc_limit/Mochkofsky-Lemebel.jpg"/></noscript></picture></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">Page-Turner</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/books/page-turner/pedro-lemebel-a-radical-voice-for-calamitous-times" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Pedro Lemebel, a Radical Voice for Calamitous Times</h3></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="/books/page-turner/pedro-lemebel-a-radical-voice-for-calamitous-times" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67b6034db76fad4c63783287/4:3/w_120,c_limit/Mochkofsky-Lemebel.jpg 120w, https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_240,c_limit/Mochkofsky-Lemebel.jpg 240w, https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_320,c_limit/Mochkofsky-Lemebel.jpg 320w, https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_640,c_limit/Mochkofsky-Lemebel.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_120,c_limit/Mochkofsky-Lemebel.jpg 120w, https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_240,c_limit/Mochkofsky-Lemebel.jpg 240w, https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_320,c_limit/Mochkofsky-Lemebel.jpg 320w, https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_640,c_limit/Mochkofsky-Lemebel.jpg 640w, https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_960,c_limit/Mochkofsky-Lemebel.jpg 960w, https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_1280,c_limit/Mochkofsky-Lemebel.jpg 1280w, https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_1600,c_limit/Mochkofsky-Lemebel.jpg 1600w" sizes="100vw"/><img alt="Pedro Lemebel, a Radical Voice for Calamitous Times" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67b6034db76fad4c63783287/4:3/w_1600%2Cc_limit/Mochkofsky-Lemebel.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Lemebel’s writing was entirely focussed on those living on the farthest margins of society—people escaping the norms and seen as different.</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>Graciela Mochkofsky</span></span></span></div></div></div></div></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryCollectionGridSummaryItem-WColm gyTvwi ad ad--read-more"><div class="ad__slot ad__slot--read-more" data-node-id="gc5m8"></div></div></div><div class="SummaryCollectionGridToActionWrapper-gnReGN eGayfk"></div></div></div></div></div></div><div data-journey-hook="row-content" class="ad-container ad-container-reduced-margin"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-content should-hold-space"><div class="ad__slot ad__slot--mid-content" data-node-id="fglip"></div></div></div><div class="ticker-view" data-journey-hook="row-content"><div class="TickerWrapper-gzXWCq rLzXB"><div class="ConsumerMarketingUnitThemedWrapper-iUTMTf jssHut consumer-marketing-unit consumer-marketing-unit--cm-ticker" role="presentation" aria-hidden="true"><div class="consumer-marketing-unit__slot consumer-marketing-unit__slot--cm-ticker"></div><div class="journey-unit"></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan MultiPackageBaseRow-gSnwPR MultiPackageRow-cnuYUr faNxPo iabiOO"><div id="6578e6581243c5ea04d274e8" class="TickerWrapper-gzXWCq rLzXB"><section class="TickerWrapper-bzDcsz jgjJDr ticker-wrapper"><a href="https://link.chtbl.com/P6qIHKFD" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TickerLinkWrapper-heSBck iUEiRd dTCiYp deJsDf"><span class="SpanWrapper-umhxW jvZaPI responsive-asset TickerImage-bzqpYE MpNJm ticker__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz hlQxkn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa TickerImage-bzqpYE MpNJm ticker__image responsive-image"><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/650b5d4f3931a56caf594a89/master/w_120,c_limit/CAL-TILE.png 120w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/650b5d4f3931a56caf594a89/master/w_120,c_limit/CAL-TILE.png 120w" sizes="100vw"/><img alt="" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/650b5d4f3931a56caf594a89/master/w_150%2Cc_limit/CAL-TILE.png"/></picture></div></div></span></a><span class="TickerText-ctVCGS gzjooS"><span data-testid="TickerText" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TickerHed-jMZYxm iUEiRd lfkvcU cfsdUk">Listen to lively debates about the art of the moment.</span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TickerLink-dBIUkP iUEiRd dTCiYp deJsDf lkjnIv ticker__link" href="https://link.chtbl.com/P6qIHKFD">Follow Critics at Large wherever you get your podcasts »</a></span></section></div></div></div><div data-testid="RowWrapper" id="6578e76f4db2fe0688e03b62" data-journey-hook="row-content" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan MultiPackageBaseRow-gSnwPR MultiPackageRow-cnuYUr faNxPo iabiOO verso-featured-item-row"><div data-testid="SummaryCollageOneSingleFeature" class="SummaryCollageOneGridWithMargin-jQiZuW bvnqfa summary-collage-one"><div class="SummaryItemWrapper-iwvBff kJuTzh summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-center summary-item--layout-placement-side-by-side-desktop-only summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollageOneItemComponent-kqWTHk cJrTnJ" data-item="{"dangerousHed":"Winter Culture Preview","id":"672166e079c6952ef54eb145","contentType":"venue","hotelLink":"/culture/goings-on/winter-culture-preview-2024-5","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/goings-on/winter-culture-preview-2024-5" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" 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 dGlgGw"><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/671ff8366299699670d401ba/master/w_120,c_limit/r45192.jpg 120w, https://media.newyorker.com/photos/671ff8366299699670d401ba/master/w_240,c_limit/r45192.jpg 240w, https://media.newyorker.com/photos/671ff8366299699670d401ba/master/w_320,c_limit/r45192.jpg 320w, https://media.newyorker.com/photos/671ff8366299699670d401ba/master/w_640,c_limit/r45192.jpg 640w, https://media.newyorker.com/photos/671ff8366299699670d401ba/master/w_960,c_limit/r45192.jpg 960w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/671ff8366299699670d401ba/master/w_120,c_limit/r45192.jpg 120w, https://media.newyorker.com/photos/671ff8366299699670d401ba/master/w_240,c_limit/r45192.jpg 240w, https://media.newyorker.com/photos/671ff8366299699670d401ba/master/w_320,c_limit/r45192.jpg 320w, https://media.newyorker.com/photos/671ff8366299699670d401ba/master/w_640,c_limit/r45192.jpg 640w, https://media.newyorker.com/photos/671ff8366299699670d401ba/master/w_960,c_limit/r45192.jpg 960w, https://media.newyorker.com/photos/671ff8366299699670d401ba/master/w_1280,c_limit/r45192.jpg 1280w" sizes="100vw"/><img alt="Winter Culture Preview" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671ff8366299699670d401ba/master/w_1280%2Cc_limit/r45192.jpg"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl fSburJ summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN gYIzIS summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Goings On</span></div></div><a class="SummaryItemHedLink-civMjp bMCiCb summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/goings-on/winter-culture-preview-2024-5" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">Winter Culture Preview</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">What’s happening this season in art, music, theatre, dance, movies, and television.</div></div></div></div></div><div data-testid="RowWrapper" data-journey-hook="row-content" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan MultiPackageBaseRow-gSnwPR MultiPackageRow-cnuYUr knBfzx gDWvUl"><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan FeaturesRow-fFHjAg kQkRwY verso-features"><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 SummaryCollectionGridComponent-ktyEog PaVHW summary-collection-grid summary-collection-grid--four-columns summary-collection-grid__tablet-single-column summary-collection-grid--DenseDesktopStack"><div class="GridItem-buujkM kHPPIF grid--item"><div class="SummaryCollectionGridContent-eVUpRm kLpQMK"><div class="SectionTitleRoot-dBGvdq ggxHzE SummaryCollectionGridSectionTitle-fCmYwG KhyPp" data-testid="SectionTitle"><h2 class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectionTitleHed-dKqZet dxqEAa hLZrSI gbguXG">What We’re Eating</h2></div><div class="SummaryCollectionGridItems-DZShR fEdtRI hide-read-more-ad" data-testid="SummaryCollectionGridItems"><div class="SummaryItemWrapper-iwvBff cJhxdP summary-item summary-item--has-border summary-item--has-mobile-border 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 gyTvwi" data-item="{"dangerousHed":"La Tête d’Or and the Revenge of the American Steak House","id":"67d1a1426e4632ef3b5316d8","index":0,"contentType":"venue","hotelLink":"/culture/the-food-scene/la-tete-dor-and-the-revenge-of-the-american-steak-house","layout":"GridFourColumns"}" 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="/culture/the-food-scene/la-tete-dor-and-the-revenge-of-the-american-steak-house" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67d2efbde3a5074590333e59/4:3/w_120,c_limit/new-DB-gif3-ezgif.com-optimize.gif 120w, https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_240,c_limit/new-DB-gif3-ezgif.com-optimize.gif 240w, https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_320,c_limit/new-DB-gif3-ezgif.com-optimize.gif 320w, https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_640,c_limit/new-DB-gif3-ezgif.com-optimize.gif 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_120,c_limit/new-DB-gif3-ezgif.com-optimize.gif 120w, https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_240,c_limit/new-DB-gif3-ezgif.com-optimize.gif 240w, https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_320,c_limit/new-DB-gif3-ezgif.com-optimize.gif 320w, https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_640,c_limit/new-DB-gif3-ezgif.com-optimize.gif 640w, https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_960,c_limit/new-DB-gif3-ezgif.com-optimize.gif 960w, https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_1280,c_limit/new-DB-gif3-ezgif.com-optimize.gif 1280w, https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_1600,c_limit/new-DB-gif3-ezgif.com-optimize.gif 1600w" sizes="100vw"/><img alt="La Tête d’Or and the Revenge of the American Steak House" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_1600%2Cc_limit/new-DB-gif3-ezgif.com-optimize.gif"/></noscript></picture></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 Food Scene</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-food-scene/la-tete-dor-and-the-revenge-of-the-american-steak-house" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">La Tête d’Or and the Revenge of the American Steak House</h3></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="/culture/the-food-scene/la-tete-dor-and-the-revenge-of-the-american-steak-house" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67d2efbde3a5074590333e59/4:3/w_120,c_limit/new-DB-gif3-ezgif.com-optimize.gif 120w, https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_240,c_limit/new-DB-gif3-ezgif.com-optimize.gif 240w, https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_320,c_limit/new-DB-gif3-ezgif.com-optimize.gif 320w, https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_640,c_limit/new-DB-gif3-ezgif.com-optimize.gif 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_120,c_limit/new-DB-gif3-ezgif.com-optimize.gif 120w, https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_240,c_limit/new-DB-gif3-ezgif.com-optimize.gif 240w, https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_320,c_limit/new-DB-gif3-ezgif.com-optimize.gif 320w, https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_640,c_limit/new-DB-gif3-ezgif.com-optimize.gif 640w, https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_960,c_limit/new-DB-gif3-ezgif.com-optimize.gif 960w, https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_1280,c_limit/new-DB-gif3-ezgif.com-optimize.gif 1280w, https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_1600,c_limit/new-DB-gif3-ezgif.com-optimize.gif 1600w" sizes="100vw"/><img alt="La Tête d’Or and the Revenge of the American Steak House" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d2efbde3a5074590333e59/4:3/w_1600%2Cc_limit/new-DB-gif3-ezgif.com-optimize.gif"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The ne plus ultra of expense-account dining is making a comeback, with help from the indefatigable French chef Daniel Boulud.</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 Rosner</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff cJhxdP summary-item summary-item--has-border summary-item--has-mobile-border 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 gyTvwi" data-item="{"dangerousHed":"A Crowning Moment for the New Orleans King Cake","id":"67bf31dacfbc5d2540830131","index":1,"contentType":"venue","hotelLink":"/magazine/2025/03/10/a-crowning-moment-for-the-new-orleans-king-cake","layout":"GridFourColumns"}" 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="/magazine/2025/03/10/a-crowning-moment-for-the-new-orleans-king-cake" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67bf6654cfbc5d2540830146/4:3/w_120,c_limit/r45682web-site.jpg 120w, https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_240,c_limit/r45682web-site.jpg 240w, https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_320,c_limit/r45682web-site.jpg 320w, https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_640,c_limit/r45682web-site.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_120,c_limit/r45682web-site.jpg 120w, https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_240,c_limit/r45682web-site.jpg 240w, https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_320,c_limit/r45682web-site.jpg 320w, https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_640,c_limit/r45682web-site.jpg 640w, https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_960,c_limit/r45682web-site.jpg 960w, https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_1280,c_limit/r45682web-site.jpg 1280w, https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_1600,c_limit/r45682web-site.jpg 1600w" sizes="100vw"/><img alt="A Crowning Moment for the New Orleans King Cake" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_1600%2Cc_limit/r45682web-site.jpg"/></noscript></picture></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">On and Off the Menu</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/magazine/2025/03/10/a-crowning-moment-for-the-new-orleans-king-cake" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">A Crowning Moment for the New Orleans King Cake</h3></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="/magazine/2025/03/10/a-crowning-moment-for-the-new-orleans-king-cake" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67bf6654cfbc5d2540830146/4:3/w_120,c_limit/r45682web-site.jpg 120w, https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_240,c_limit/r45682web-site.jpg 240w, https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_320,c_limit/r45682web-site.jpg 320w, https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_640,c_limit/r45682web-site.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_120,c_limit/r45682web-site.jpg 120w, https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_240,c_limit/r45682web-site.jpg 240w, https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_320,c_limit/r45682web-site.jpg 320w, https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_640,c_limit/r45682web-site.jpg 640w, https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_960,c_limit/r45682web-site.jpg 960w, https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_1280,c_limit/r45682web-site.jpg 1280w, https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_1600,c_limit/r45682web-site.jpg 1600w" sizes="100vw"/><img alt="A Crowning Moment for the New Orleans King Cake" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67bf6654cfbc5d2540830146/4:3/w_1600%2Cc_limit/r45682web-site.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">During Carnival, the ingenuity of the city’s bakers is on full display.</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>Hannah Goldfield</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff cJhxdP summary-item summary-item--has-border summary-item--has-mobile-border 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 gyTvwi" data-item="{"dangerousHed":"Sunn’s and Ha’s Snack Bar Lay Down Roots","id":"67b73fc402f48e5f38faee58","index":2,"contentType":"venue","hotelLink":"/culture/the-food-scene/sunns-and-has-snack-bar-lay-down-roots","layout":"GridFourColumns"}" 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="/culture/the-food-scene/sunns-and-has-snack-bar-lay-down-roots" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67b78027ba2bdbfe75772306/4:3/w_120,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 120w, https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_240,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 240w, https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_320,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 320w, https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_640,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_120,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 120w, https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_240,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 240w, https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_320,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 320w, https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_640,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 640w, https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_960,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 960w, https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_1280,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 1280w, https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_1600,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 1600w" sizes="100vw"/><img alt="Sunn’s and Ha’s Snack Bar Lay Down Roots" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_1600%2Cc_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg"/></noscript></picture></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 Food Scene</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-food-scene/sunns-and-has-snack-bar-lay-down-roots" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Sunn’s and Ha’s Snack Bar Lay Down Roots</h3></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="/culture/the-food-scene/sunns-and-has-snack-bar-lay-down-roots" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67b78027ba2bdbfe75772306/4:3/w_120,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 120w, https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_240,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 240w, https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_320,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 320w, https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_640,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_120,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 120w, https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_240,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 240w, https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_320,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 320w, https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_640,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 640w, https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_960,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 960w, https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_1280,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 1280w, https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_1600,c_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg 1600w" sizes="100vw"/><img alt="Sunn’s and Ha’s Snack Bar Lay Down Roots" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67b78027ba2bdbfe75772306/4:3/w_1600%2Cc_limit/TMIDLER_NEWYORKER_SUNNS_FINALS_RE-EDIT_002.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Two beloved pop-ups have opened brick-and-mortar spots on the Lower East Side, one from Sunny Lee, of Banchan by Sunny, the other from the team behind Ha’s Đặc Biệt.</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 Rosner</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff cJhxdP summary-item summary-item--has-border summary-item--has-mobile-border 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 gyTvwi" data-item="{"dangerousHed":"L&amp;L Hawaiian Barbecue Brings New Yorkers the Plate Lunch","id":"67ab89963824e8e8c908ff30","index":3,"contentType":"venue","hotelLink":"/culture/the-food-scene/l-and-l-hawaiian-barbecue-brings-new-yorkers-the-plate-lunch","layout":"GridFourColumns"}" 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="/culture/the-food-scene/l-and-l-hawaiian-barbecue-brings-new-yorkers-the-plate-lunch" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67abca49b222f22dc34bfc4d/4:3/w_120,c_limit/250209_TheNewYorker57715%20copy.jpg 120w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_240,c_limit/250209_TheNewYorker57715%20copy.jpg 240w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_320,c_limit/250209_TheNewYorker57715%20copy.jpg 320w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_640,c_limit/250209_TheNewYorker57715%20copy.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_120,c_limit/250209_TheNewYorker57715%20copy.jpg 120w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_240,c_limit/250209_TheNewYorker57715%20copy.jpg 240w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_320,c_limit/250209_TheNewYorker57715%20copy.jpg 320w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_640,c_limit/250209_TheNewYorker57715%20copy.jpg 640w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_960,c_limit/250209_TheNewYorker57715%20copy.jpg 960w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_1280,c_limit/250209_TheNewYorker57715%20copy.jpg 1280w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_1600,c_limit/250209_TheNewYorker57715%20copy.jpg 1600w" sizes="100vw"/><img alt="L&L Hawaiian Barbecue Brings New Yorkers the Plate Lunch" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_1600%2Cc_limit/250209_TheNewYorker57715%2520copy.jpg"/></noscript></picture></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 Food Scene</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-food-scene/l-and-l-hawaiian-barbecue-brings-new-yorkers-the-plate-lunch" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">L&L Hawaiian Barbecue Brings New Yorkers the Plate Lunch</h3></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="/culture/the-food-scene/l-and-l-hawaiian-barbecue-brings-new-yorkers-the-plate-lunch" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67abca49b222f22dc34bfc4d/4:3/w_120,c_limit/250209_TheNewYorker57715%20copy.jpg 120w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_240,c_limit/250209_TheNewYorker57715%20copy.jpg 240w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_320,c_limit/250209_TheNewYorker57715%20copy.jpg 320w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_640,c_limit/250209_TheNewYorker57715%20copy.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_120,c_limit/250209_TheNewYorker57715%20copy.jpg 120w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_240,c_limit/250209_TheNewYorker57715%20copy.jpg 240w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_320,c_limit/250209_TheNewYorker57715%20copy.jpg 320w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_640,c_limit/250209_TheNewYorker57715%20copy.jpg 640w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_960,c_limit/250209_TheNewYorker57715%20copy.jpg 960w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_1280,c_limit/250209_TheNewYorker57715%20copy.jpg 1280w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_1600,c_limit/250209_TheNewYorker57715%20copy.jpg 1600w" sizes="100vw"/><img alt="L&L Hawaiian Barbecue Brings New Yorkers the Plate Lunch" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_1600%2Cc_limit/250209_TheNewYorker57715%2520copy.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The Honolulu-based franchise specializes in simple meals that stick to the ribs.</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 Rosner</span></span></span></div></div></div></div></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryCollectionGridSummaryItem-WColm gyTvwi ad ad--read-more"><div class="ad__slot ad__slot--read-more" data-node-id="o9an3q"></div></div></div><div class="SummaryCollectionGridToActionWrapper-gnReGN eGayfk"></div></div></div></div></div></div><div data-journey-hook="row-content" class="ad-container ad-container-reduced-margin"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-content should-hold-space"><div class="ad__slot ad__slot--mid-content" data-node-id="kqmdef"></div></div></div><div data-testid="RowWrapper" data-journey-hook="row-content" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan MultiPackageBaseRow-gSnwPR MultiPackageRow-cnuYUr knBfzx gDWvUl"><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan FeaturesRow-fFHjAg kQkRwY verso-features"><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 SummaryCollectionGridComponent-ktyEog PaVHW summary-collection-grid summary-collection-grid--four-columns summary-collection-grid__tablet-single-column summary-collection-grid--DenseDesktopStack"><div class="GridItem-buujkM kHPPIF grid--item"><div class="SummaryCollectionGridContent-eVUpRm kLpQMK"><div class="SectionTitleRoot-dBGvdq ggxHzE SummaryCollectionGridSectionTitle-fCmYwG KhyPp" data-testid="SectionTitle"><h2 class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectionTitleHed-dKqZet dxqEAa hLZrSI gbguXG">What We’re Watching</h2></div><div class="SummaryCollectionGridItems-DZShR fEdtRI hide-read-more-ad" data-testid="SummaryCollectionGridItems"><div class="SummaryItemWrapper-iwvBff cJhxdP summary-item summary-item--has-border summary-item--has-mobile-border 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 gyTvwi" data-item="{"dangerousHed":"The Hitchcockian Wonders of “Misericordia”","id":"67d87316869cedfb65056d88","index":0,"contentType":"venue","hotelLink":"/culture/the-front-row/the-hitchcockian-wonders-of-misericordia","layout":"GridFourColumns"}" 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="/culture/the-front-row/the-hitchcockian-wonders-of-misericordia" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67dad7a231e456a93de36e1c/4:3/w_120,c_limit/Brody-Misericordia.jpg 120w, https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_240,c_limit/Brody-Misericordia.jpg 240w, https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_320,c_limit/Brody-Misericordia.jpg 320w, https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_640,c_limit/Brody-Misericordia.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_120,c_limit/Brody-Misericordia.jpg 120w, https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_240,c_limit/Brody-Misericordia.jpg 240w, https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_320,c_limit/Brody-Misericordia.jpg 320w, https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_640,c_limit/Brody-Misericordia.jpg 640w, https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_960,c_limit/Brody-Misericordia.jpg 960w, https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_1280,c_limit/Brody-Misericordia.jpg 1280w, https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_1600,c_limit/Brody-Misericordia.jpg 1600w" sizes="100vw"/><img alt="The Hitchcockian Wonders of “Misericordia”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_1600%2Cc_limit/Brody-Misericordia.jpg"/></noscript></picture></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" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-front-row/the-hitchcockian-wonders-of-misericordia" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Hitchcockian Wonders of “Misericordia”</h3></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="/culture/the-front-row/the-hitchcockian-wonders-of-misericordia" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67dad7a231e456a93de36e1c/4:3/w_120,c_limit/Brody-Misericordia.jpg 120w, https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_240,c_limit/Brody-Misericordia.jpg 240w, https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_320,c_limit/Brody-Misericordia.jpg 320w, https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_640,c_limit/Brody-Misericordia.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_120,c_limit/Brody-Misericordia.jpg 120w, https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_240,c_limit/Brody-Misericordia.jpg 240w, https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_320,c_limit/Brody-Misericordia.jpg 320w, https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_640,c_limit/Brody-Misericordia.jpg 640w, https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_960,c_limit/Brody-Misericordia.jpg 960w, https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_1280,c_limit/Brody-Misericordia.jpg 1280w, https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_1600,c_limit/Brody-Misericordia.jpg 1600w" sizes="100vw"/><img alt="The Hitchcockian Wonders of “Misericordia”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67dad7a231e456a93de36e1c/4:3/w_1600%2Cc_limit/Brody-Misericordia.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Alain Guiraudie’s intimate thriller, about sex and death in a rustic village, bends classic tropes into modern forms.</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 cJhxdP summary-item summary-item--has-border summary-item--has-mobile-border 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 gyTvwi" data-item="{"dangerousHed":"A British Detective Comedy About a Reclusive Puzzle-Maker","id":"67d4683621162af8c5b047c5","index":1,"contentType":"venue","hotelLink":"/culture/on-television/a-british-detective-comedy-about-a-reclusive-puzzle-maker","layout":"GridFourColumns"}" 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="/culture/on-television/a-british-detective-comedy-about-a-reclusive-puzzle-maker" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67d468809a39632ab4686f51/4:3/w_120,c_limit/Larson-Ludwig2.jpg 120w, https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_240,c_limit/Larson-Ludwig2.jpg 240w, https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_320,c_limit/Larson-Ludwig2.jpg 320w, https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_640,c_limit/Larson-Ludwig2.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_120,c_limit/Larson-Ludwig2.jpg 120w, https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_240,c_limit/Larson-Ludwig2.jpg 240w, https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_320,c_limit/Larson-Ludwig2.jpg 320w, https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_640,c_limit/Larson-Ludwig2.jpg 640w, https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_960,c_limit/Larson-Ludwig2.jpg 960w, https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_1280,c_limit/Larson-Ludwig2.jpg 1280w, https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_1600,c_limit/Larson-Ludwig2.jpg 1600w" sizes="100vw"/><img alt="A British Detective Comedy About a Reclusive Puzzle-Maker" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_1600%2Cc_limit/Larson-Ludwig2.jpg"/></noscript></picture></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">On Television</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/on-television/a-british-detective-comedy-about-a-reclusive-puzzle-maker" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">A British Detective Comedy About a Reclusive Puzzle-Maker</h3></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="/culture/on-television/a-british-detective-comedy-about-a-reclusive-puzzle-maker" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67d468809a39632ab4686f51/4:3/w_120,c_limit/Larson-Ludwig2.jpg 120w, https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_240,c_limit/Larson-Ludwig2.jpg 240w, https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_320,c_limit/Larson-Ludwig2.jpg 320w, https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_640,c_limit/Larson-Ludwig2.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_120,c_limit/Larson-Ludwig2.jpg 120w, https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_240,c_limit/Larson-Ludwig2.jpg 240w, https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_320,c_limit/Larson-Ludwig2.jpg 320w, https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_640,c_limit/Larson-Ludwig2.jpg 640w, https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_960,c_limit/Larson-Ludwig2.jpg 960w, https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_1280,c_limit/Larson-Ludwig2.jpg 1280w, https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_1600,c_limit/Larson-Ludwig2.jpg 1600w" sizes="100vw"/><img alt="A British Detective Comedy About a Reclusive Puzzle-Maker" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d468809a39632ab4686f51/4:3/w_1600%2Cc_limit/Larson-Ludwig2.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">In “Ludwig,” David Mitchell tries to solve mysteries—and the problem of being a person in the world.</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>Sarah Larson</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff cJhxdP summary-item summary-item--has-border summary-item--has-mobile-border 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 gyTvwi" data-item="{"dangerousHed":"“Being Maria” Brings Maria Schneider’s Traumatic Career to Light","id":"67d82ed9be8d6afafc344644","index":2,"contentType":"venue","hotelLink":"/culture/the-front-row/being-maria-brings-maria-schneiders-traumatic-career-to-light","layout":"GridFourColumns"}" 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="/culture/the-front-row/being-maria-brings-maria-schneiders-traumatic-career-to-light" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67d852b4186d3b7cd73d6a80/4:3/w_120,c_limit/Brody_Maria.jpg 120w, https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_240,c_limit/Brody_Maria.jpg 240w, https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_320,c_limit/Brody_Maria.jpg 320w, https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_640,c_limit/Brody_Maria.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_120,c_limit/Brody_Maria.jpg 120w, https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_240,c_limit/Brody_Maria.jpg 240w, https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_320,c_limit/Brody_Maria.jpg 320w, https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_640,c_limit/Brody_Maria.jpg 640w, https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_960,c_limit/Brody_Maria.jpg 960w, https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_1280,c_limit/Brody_Maria.jpg 1280w, https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_1600,c_limit/Brody_Maria.jpg 1600w" sizes="100vw"/><img alt="“Being Maria” Brings Maria Schneider’s Traumatic Career to Light" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_1600%2Cc_limit/Brody_Maria.jpg"/></noscript></picture></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" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-front-row/being-maria-brings-maria-schneiders-traumatic-career-to-light" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">“Being Maria” Brings Maria Schneider’s Traumatic Career to Light</h3></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="/culture/the-front-row/being-maria-brings-maria-schneiders-traumatic-career-to-light" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67d852b4186d3b7cd73d6a80/4:3/w_120,c_limit/Brody_Maria.jpg 120w, https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_240,c_limit/Brody_Maria.jpg 240w, https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_320,c_limit/Brody_Maria.jpg 320w, https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_640,c_limit/Brody_Maria.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_120,c_limit/Brody_Maria.jpg 120w, https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_240,c_limit/Brody_Maria.jpg 240w, https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_320,c_limit/Brody_Maria.jpg 320w, https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_640,c_limit/Brody_Maria.jpg 640w, https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_960,c_limit/Brody_Maria.jpg 960w, https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_1280,c_limit/Brody_Maria.jpg 1280w, https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_1600,c_limit/Brody_Maria.jpg 1600w" sizes="100vw"/><img alt="“Being Maria” Brings Maria Schneider’s Traumatic Career to Light" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d852b4186d3b7cd73d6a80/4:3/w_1600%2Cc_limit/Brody_Maria.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Jessica Palud’s portrait of the actress, who starred, with Marlon Brando, in “Last Tango in Paris,” centers the abuse that Schneider endured on that shoot, and its lifelong aftereffects.</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 cJhxdP summary-item summary-item--has-border summary-item--has-mobile-border 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 gyTvwi" data-item="{"dangerousHed":"“Purpose” on Broadway and “Vanya” Downtown","id":"67dac3ac8e8dfaf177953f0f","index":3,"contentType":"venue","hotelLink":"/magazine/2025/03/31/vanya-and-purpose-theatre-review","layout":"GridFourColumns"}" 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="/magazine/2025/03/31/vanya-and-purpose-theatre-review" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67db37b5e225f66d2bdf30d4/4:3/w_120,c_limit/r45782.png 120w, https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_240,c_limit/r45782.png 240w, https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_320,c_limit/r45782.png 320w, https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_640,c_limit/r45782.png 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_120,c_limit/r45782.png 120w, https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_240,c_limit/r45782.png 240w, https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_320,c_limit/r45782.png 320w, https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_640,c_limit/r45782.png 640w, https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_960,c_limit/r45782.png 960w, https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_1280,c_limit/r45782.png 1280w, https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_1600,c_limit/r45782.png 1600w" sizes="100vw"/><img alt="“Purpose” on Broadway and “Vanya” Downtown" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_1600%2Cc_limit/r45782.png"/></noscript></picture></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 Theatre</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/magazine/2025/03/31/vanya-and-purpose-theatre-review" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">“Purpose” on Broadway and “Vanya” Downtown</h3></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="/magazine/2025/03/31/vanya-and-purpose-theatre-review" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67db37b5e225f66d2bdf30d4/4:3/w_120,c_limit/r45782.png 120w, https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_240,c_limit/r45782.png 240w, https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_320,c_limit/r45782.png 320w, https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_640,c_limit/r45782.png 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_120,c_limit/r45782.png 120w, https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_240,c_limit/r45782.png 240w, https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_320,c_limit/r45782.png 320w, https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_640,c_limit/r45782.png 640w, https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_960,c_limit/r45782.png 960w, https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_1280,c_limit/r45782.png 1280w, https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_1600,c_limit/r45782.png 1600w" sizes="100vw"/><img alt="“Purpose” on Broadway and “Vanya” Downtown" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67db37b5e225f66d2bdf30d4/4:3/w_1600%2Cc_limit/r45782.png"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Branden Jacobs-Jenkins’s latest offers another family battle royale, and Andrew Scott dazzles in a one-man tour de force.</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 gyTvwi ad ad--read-more"><div class="ad__slot ad__slot--read-more" data-node-id="z544kn"></div></div></div><div class="SummaryCollectionGridToActionWrapper-gnReGN eGayfk"></div></div></div></div></div></div><div data-testid="RowWrapper" id="67642fce3fb6f63670e920bd" data-journey-hook="row-content" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan MultiPackageBaseRow-gSnwPR MultiPackageRow-cnuYUr faNxPo iabiOO verso-featured-item-row"><div data-testid="SummaryCollageOneSingleFeature" class="SummaryCollageOneGridWithMargin-jQiZuW bvnqfa summary-collage-one"><div class="SummaryItemWrapper-iwvBff kJuTzh summary-item summary-item--has-border summary-item--article summary-item--no-icon summary-item--text-align-center summary-item--layout-placement-side-by-side-desktop-only summary-item--layout-position-image-left summary-item--layout-proportions-50-50 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollageOneItemComponent-kqWTHk cJrTnJ" data-item="{"dangerousHed":"Celebrating the Holidays in N.Y.C.","id":"673e7bb5a7f1e544a75013ff","contentType":"venue","hotelLink":"/culture/goings-on/celebrating-the-holidays-2024","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/goings-on/celebrating-the-holidays-2024" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" 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 bvHVBY"><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/673cbdc9884f04e9e4865bf4/master/w_120,c_limit/r45302.jpg 120w, https://media.newyorker.com/photos/673cbdc9884f04e9e4865bf4/master/w_240,c_limit/r45302.jpg 240w, https://media.newyorker.com/photos/673cbdc9884f04e9e4865bf4/master/w_320,c_limit/r45302.jpg 320w, https://media.newyorker.com/photos/673cbdc9884f04e9e4865bf4/master/w_640,c_limit/r45302.jpg 640w, https://media.newyorker.com/photos/673cbdc9884f04e9e4865bf4/master/w_960,c_limit/r45302.jpg 960w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/673cbdc9884f04e9e4865bf4/master/w_120,c_limit/r45302.jpg 120w, https://media.newyorker.com/photos/673cbdc9884f04e9e4865bf4/master/w_240,c_limit/r45302.jpg 240w, https://media.newyorker.com/photos/673cbdc9884f04e9e4865bf4/master/w_320,c_limit/r45302.jpg 320w, https://media.newyorker.com/photos/673cbdc9884f04e9e4865bf4/master/w_640,c_limit/r45302.jpg 640w, https://media.newyorker.com/photos/673cbdc9884f04e9e4865bf4/master/w_960,c_limit/r45302.jpg 960w, https://media.newyorker.com/photos/673cbdc9884f04e9e4865bf4/master/w_1280,c_limit/r45302.jpg 1280w" sizes="100vw"/><img alt="Celebrating the Holidays in N.Y.C." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/673cbdc9884f04e9e4865bf4/master/w_1280%2Cc_limit/r45302.jpg"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl fSburJ summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN gYIzIS summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Goings On</span></div></div><a class="SummaryItemHedLink-civMjp bMCiCb summary-item-tracking__hed-link summary-item__hed-link" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/goings-on/celebrating-the-holidays-2024" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">Celebrating the Holidays in N.Y.C.</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Favorite traditions light up the season, including “Messiah”s, “Nutcracker”s, Scrooge, James Joyce, the Rockettes, and more.</div></div></div></div></div><div data-testid="RowWrapper" data-journey-hook="row-content" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan MultiPackageBaseRow-gSnwPR MultiPackageRow-cnuYUr knBfzx gDWvUl"><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan FeaturesRow-fFHjAg kQkRwY verso-features"><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 SummaryCollectionGridComponent-ktyEog PaVHW summary-collection-grid summary-collection-grid--four-columns summary-collection-grid__tablet-single-column summary-collection-grid--DenseDesktopStack"><div class="GridItem-buujkM kHPPIF grid--item"><div class="SummaryCollectionGridContent-eVUpRm kLpQMK"><div class="SectionTitleRoot-dBGvdq ggxHzE SummaryCollectionGridSectionTitle-fCmYwG KhyPp" data-testid="SectionTitle"><h2 class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectionTitleHed-dKqZet dxqEAa hLZrSI gbguXG">What We’re Listening To</h2></div><div class="SummaryCollectionGridItems-DZShR fEdtRI hide-read-more-ad" data-testid="SummaryCollectionGridItems"><div class="SummaryItemWrapper-iwvBff cJhxdP summary-item summary-item--has-border summary-item--has-mobile-border 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 gyTvwi" data-item="{"dangerousHed":"Two Young Pianists Test Their Limits","id":"67c88eb848c71f7e396b60be","index":0,"contentType":"venue","hotelLink":"/magazine/2025/03/17/yunchan-lim-seong-jin-cho-music-review","layout":"GridFourColumns"}" 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="/magazine/2025/03/17/yunchan-lim-seong-jin-cho-music-review" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" 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href="/magazine/2025/03/17/yunchan-lim-seong-jin-cho-music-review" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Two Young Pianists Test Their Limits</h3></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="/magazine/2025/03/17/yunchan-lim-seong-jin-cho-music-review" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67c77231f954c9649f807398/4:3/w_120,c_limit/r45714.jpg 120w, https://media.newyorker.com/photos/67c77231f954c9649f807398/4:3/w_240,c_limit/r45714.jpg 240w, https://media.newyorker.com/photos/67c77231f954c9649f807398/4:3/w_320,c_limit/r45714.jpg 320w, https://media.newyorker.com/photos/67c77231f954c9649f807398/4:3/w_640,c_limit/r45714.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67c77231f954c9649f807398/4:3/w_120,c_limit/r45714.jpg 120w, https://media.newyorker.com/photos/67c77231f954c9649f807398/4:3/w_240,c_limit/r45714.jpg 240w, https://media.newyorker.com/photos/67c77231f954c9649f807398/4:3/w_320,c_limit/r45714.jpg 320w, https://media.newyorker.com/photos/67c77231f954c9649f807398/4:3/w_640,c_limit/r45714.jpg 640w, https://media.newyorker.com/photos/67c77231f954c9649f807398/4:3/w_960,c_limit/r45714.jpg 960w, 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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>Alex Ross</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff cJhxdP summary-item summary-item--has-border summary-item--has-mobile-border 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 gyTvwi" data-item="{"dangerousHed":"The Show That Finds the Intrigue Lurking in the Everyday","id":"67c5b5bdd71ba96e7ea6ccb3","index":1,"contentType":"venue","hotelLink":"/culture/podcast-dept/the-origins-of-the-humdrum-curious-history-of-your-home-podcast","layout":"GridFourColumns"}" 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="/culture/podcast-dept/the-origins-of-the-humdrum-curious-history-of-your-home-podcast" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67c646ce1d78f83417ac8a7e/4:3/w_120,c_limit/Larson_Curious_History_sub2.jpg 120w, https://media.newyorker.com/photos/67c646ce1d78f83417ac8a7e/4:3/w_240,c_limit/Larson_Curious_History_sub2.jpg 240w, https://media.newyorker.com/photos/67c646ce1d78f83417ac8a7e/4:3/w_320,c_limit/Larson_Curious_History_sub2.jpg 320w, https://media.newyorker.com/photos/67c646ce1d78f83417ac8a7e/4:3/w_640,c_limit/Larson_Curious_History_sub2.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67c646ce1d78f83417ac8a7e/4:3/w_120,c_limit/Larson_Curious_History_sub2.jpg 120w, https://media.newyorker.com/photos/67c646ce1d78f83417ac8a7e/4:3/w_240,c_limit/Larson_Curious_History_sub2.jpg 240w, https://media.newyorker.com/photos/67c646ce1d78f83417ac8a7e/4:3/w_320,c_limit/Larson_Curious_History_sub2.jpg 320w, https://media.newyorker.com/photos/67c646ce1d78f83417ac8a7e/4:3/w_640,c_limit/Larson_Curious_History_sub2.jpg 640w, 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class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/podcast-dept/the-origins-of-the-humdrum-curious-history-of-your-home-podcast" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Show That Finds the Intrigue Lurking in the Everyday</h3></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="/culture/podcast-dept/the-origins-of-the-humdrum-curious-history-of-your-home-podcast" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67c646ce1d78f83417ac8a7e/4:3/w_120,c_limit/Larson_Curious_History_sub2.jpg 120w, https://media.newyorker.com/photos/67c646ce1d78f83417ac8a7e/4:3/w_240,c_limit/Larson_Curious_History_sub2.jpg 240w, https://media.newyorker.com/photos/67c646ce1d78f83417ac8a7e/4:3/w_320,c_limit/Larson_Curious_History_sub2.jpg 320w, https://media.newyorker.com/photos/67c646ce1d78f83417ac8a7e/4:3/w_640,c_limit/Larson_Curious_History_sub2.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67c646ce1d78f83417ac8a7e/4:3/w_120,c_limit/Larson_Curious_History_sub2.jpg 120w, https://media.newyorker.com/photos/67c646ce1d78f83417ac8a7e/4:3/w_240,c_limit/Larson_Curious_History_sub2.jpg 240w, 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summary-item__dek">“The Curious History of Your Home” delves into the origins of the humdrum.</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>Sarah Larson</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff cJhxdP summary-item summary-item--has-border summary-item--has-mobile-border 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 gyTvwi" data-item="{"dangerousHed":"An 1887 Opera by a Black Composer Finally Surfaces","id":"67b5eea5b3935fd0e00a28cc","index":2,"contentType":"venue","hotelLink":"/magazine/2025/03/03/an-1887-opera-by-a-black-composer-finally-surfaces","layout":"GridFourColumns"}" 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="/magazine/2025/03/03/an-1887-opera-by-a-black-composer-finally-surfaces" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67b5063ba5565198370f72c8/4:3/w_120,c_limit/r45652.jpg 120w, https://media.newyorker.com/photos/67b5063ba5565198370f72c8/4:3/w_240,c_limit/r45652.jpg 240w, https://media.newyorker.com/photos/67b5063ba5565198370f72c8/4:3/w_320,c_limit/r45652.jpg 320w, https://media.newyorker.com/photos/67b5063ba5565198370f72c8/4:3/w_640,c_limit/r45652.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67b5063ba5565198370f72c8/4:3/w_120,c_limit/r45652.jpg 120w, https://media.newyorker.com/photos/67b5063ba5565198370f72c8/4:3/w_240,c_limit/r45652.jpg 240w, 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summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Musical Events</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/magazine/2025/03/03/an-1887-opera-by-a-black-composer-finally-surfaces" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">An 1887 Opera by a Black Composer Finally Surfaces</h3></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="/magazine/2025/03/03/an-1887-opera-by-a-black-composer-finally-surfaces" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67b5063ba5565198370f72c8/4:3/w_120,c_limit/r45652.jpg 120w, https://media.newyorker.com/photos/67b5063ba5565198370f72c8/4:3/w_240,c_limit/r45652.jpg 240w, https://media.newyorker.com/photos/67b5063ba5565198370f72c8/4:3/w_320,c_limit/r45652.jpg 320w, https://media.newyorker.com/photos/67b5063ba5565198370f72c8/4:3/w_640,c_limit/r45652.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67b5063ba5565198370f72c8/4:3/w_120,c_limit/r45652.jpg 120w, https://media.newyorker.com/photos/67b5063ba5565198370f72c8/4:3/w_240,c_limit/r45652.jpg 240w, https://media.newyorker.com/photos/67b5063ba5565198370f72c8/4:3/w_320,c_limit/r45652.jpg 320w, https://media.newyorker.com/photos/67b5063ba5565198370f72c8/4:3/w_640,c_limit/r45652.jpg 640w, https://media.newyorker.com/photos/67b5063ba5565198370f72c8/4:3/w_960,c_limit/r45652.jpg 960w, https://media.newyorker.com/photos/67b5063ba5565198370f72c8/4:3/w_1280,c_limit/r45652.jpg 1280w, https://media.newyorker.com/photos/67b5063ba5565198370f72c8/4:3/w_1600,c_limit/r45652.jpg 1600w" sizes="100vw"/><img alt="An 1887 Opera by a Black Composer Finally Surfaces" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67b5063ba5565198370f72c8/4:3/w_1600%2Cc_limit/r45652.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Edmond Dédé’s “Morgiane” shows how diversity initiatives can promote works of real cultural value.</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>Alex Ross</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff cJhxdP summary-item summary-item--has-border summary-item--has-mobile-border 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 gyTvwi" data-item="{"dangerousHed":"L.A.’s New-Music Bastion","id":"6791043f1b23cba2bce497b4","index":3,"contentType":"venue","hotelLink":"/magazine/2025/02/03/monday-evening-concerts-music-review","layout":"GridFourColumns"}" 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="/magazine/2025/02/03/monday-evening-concerts-music-review" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67916d78657bf92643f1615c/4:3/w_120,c_limit/r45499.jpg 120w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_240,c_limit/r45499.jpg 240w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_320,c_limit/r45499.jpg 320w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_640,c_limit/r45499.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_120,c_limit/r45499.jpg 120w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_240,c_limit/r45499.jpg 240w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_320,c_limit/r45499.jpg 320w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_640,c_limit/r45499.jpg 640w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_960,c_limit/r45499.jpg 960w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_1280,c_limit/r45499.jpg 1280w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_1600,c_limit/r45499.jpg 1600w" sizes="100vw"/><img alt="L.A.’s New-Music Bastion" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_1600%2Cc_limit/r45499.jpg"/></noscript></picture></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">Musical Events</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/magazine/2025/02/03/monday-evening-concerts-music-review" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">L.A.’s New-Music Bastion</h3></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="/magazine/2025/02/03/monday-evening-concerts-music-review" aria-hidden="true" tabindex="-1" data-component-title="" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><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/67916d78657bf92643f1615c/4:3/w_120,c_limit/r45499.jpg 120w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_240,c_limit/r45499.jpg 240w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_320,c_limit/r45499.jpg 320w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_640,c_limit/r45499.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_120,c_limit/r45499.jpg 120w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_240,c_limit/r45499.jpg 240w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_320,c_limit/r45499.jpg 320w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_640,c_limit/r45499.jpg 640w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_960,c_limit/r45499.jpg 960w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_1280,c_limit/r45499.jpg 1280w, https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_1600,c_limit/r45499.jpg 1600w" sizes="100vw"/><img alt="L.A.’s New-Music Bastion" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67916d78657bf92643f1615c/4:3/w_1600%2Cc_limit/r45499.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Monday Evening Concerts has showcased living composers for eight decades.</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" 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summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-side-by-side 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 SummaryItemWrapper-iGxRII djdwgT summary-list__item" data-item="{"dangerousHed":"The British Hits Are Coming","id":"67d08aa7ee6ce6d4bd222b02","index":0,"contentType":"venue","hotelLink":"/culture/goings-on/the-british-hits-are-coming","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/culture/goings-on/the-british-hits-are-coming" aria-hidden="true" tabindex="-1" data-component-title="More Recommendations" data-component-type="recirc-river" data-recirc-pattern="summary-item" target="_self"><span 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SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67b611b16db0eab2e06236cc/4:3/w_120,c_limit/r45635%20copy.jpg 120w, https://media.newyorker.com/photos/67b611b16db0eab2e06236cc/4:3/w_240,c_limit/r45635%20copy.jpg 240w, https://media.newyorker.com/photos/67b611b16db0eab2e06236cc/4:3/w_320,c_limit/r45635%20copy.jpg 320w, https://media.newyorker.com/photos/67b611b16db0eab2e06236cc/4:3/w_640,c_limit/r45635%20copy.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67b611b16db0eab2e06236cc/4:3/w_120,c_limit/r45635%20copy.jpg 120w, https://media.newyorker.com/photos/67b611b16db0eab2e06236cc/4:3/w_240,c_limit/r45635%20copy.jpg 240w, https://media.newyorker.com/photos/67b611b16db0eab2e06236cc/4:3/w_320,c_limit/r45635%20copy.jpg 320w, https://media.newyorker.com/photos/67b611b16db0eab2e06236cc/4:3/w_640,c_limit/r45635%20copy.jpg 640w, https://media.newyorker.com/photos/67b611b16db0eab2e06236cc/4:3/w_960,c_limit/r45635%20copy.jpg 960w, https://media.newyorker.com/photos/67b611b16db0eab2e06236cc/4:3/w_1280,c_limit/r45635%20copy.jpg 1280w, https://media.newyorker.com/photos/67b611b16db0eab2e06236cc/4:3/w_1600,c_limit/r45635%20copy.jpg 1600w" sizes="25vw"/><img alt="“Moby-Dick” Sets Sail at the Met Opera" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67b611b16db0eab2e06236cc/4:3/w_1600%2Cc_limit/r45635%2520copy.jpg"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dogWHS summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN lapGFj summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Goings On</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII 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Women","id":"67ae67cb16d852d6496587bf","index":3,"contentType":"venue","hotelLink":"/books/book-currents/min-jin-lees-indelible-twentieth-century-women","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/books/book-currents/min-jin-lees-indelible-twentieth-century-women" aria-hidden="true" tabindex="-1" data-component-title="More Recommendations" data-component-type="recirc-river" 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 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srcSet="https://media.newyorker.com/photos/67b4ce52949324228237ff49/4:3/w_120,c_limit/Min_Jin_Lee_BookCurrents2.jpg 120w, https://media.newyorker.com/photos/67b4ce52949324228237ff49/4:3/w_240,c_limit/Min_Jin_Lee_BookCurrents2.jpg 240w, https://media.newyorker.com/photos/67b4ce52949324228237ff49/4:3/w_320,c_limit/Min_Jin_Lee_BookCurrents2.jpg 320w, https://media.newyorker.com/photos/67b4ce52949324228237ff49/4:3/w_640,c_limit/Min_Jin_Lee_BookCurrents2.jpg 640w, https://media.newyorker.com/photos/67b4ce52949324228237ff49/4:3/w_960,c_limit/Min_Jin_Lee_BookCurrents2.jpg 960w, https://media.newyorker.com/photos/67b4ce52949324228237ff49/4:3/w_1280,c_limit/Min_Jin_Lee_BookCurrents2.jpg 1280w, https://media.newyorker.com/photos/67b4ce52949324228237ff49/4:3/w_1600,c_limit/Min_Jin_Lee_BookCurrents2.jpg 1600w" sizes="25vw"/><img alt="Min Jin Lee’s Indelible Twentieth-Century Women" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" 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Previously, she was the theatre critic at \u003Cem\u003ENew York\u003C\u002Fem\u003E magazine and its culture vertical, \u003Cem\u003EVulture\u003C\u002Fem\u003E. She has also written about theatre and performance for 4Columns and \u003Cem\u003ETime Out New York\u003C\u002Fem\u003E and contributed to the New York \u003Cem\u003ESun\u003C\u002Fem\u003E, \u003Cem\u003EAmerican\u003C\u002Fem\u003E ... \u003Ca href=\"\u002Fcontributors\u002Fhelen-shaw\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fhelen-shaw\"\u003EHelen Shaw\u003C\u002Fa\u003E joined The New Yorker as a staff writer in 2022. 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staff.","name":"Jane Bua","socialMedia":[],"url":"\u002Fcontributors\u002Fjane-bua"},{"dangerousBio":"\u003Ca href=\"\u002Fcontributors\u002Fvince-aletti\"\u003EVince Aletti\u003C\u002Fa\u003E reviews photography exhibitions for Goings On About Town. In addition to his work for \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E, he reviews photography books for \u003Cem\u003EPhotograph\u003C\u002Fem\u003E. His work has also appeared in \u003Cem\u003EAperture, Art + Auction\u003C\u002Fem\u003E, and \u003Cem\u003Ephotoworks\u003C\u002Fem\u003E. Aletti was the art editor of the \u003Cem\u003EVillage Voice\u003C\u002Fem\u003E from 1994 to 2005 and the paper’s photo critic for ... \u003Ca href=\"\u002Fcontributors\u002Fvince-aletti\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fvince-aletti\"\u003EVince Aletti\u003C\u002Fa\u003E is a photography critic and the author of “\u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002FIssues-History-Photography-Fashion-Magazines\u002Fdp\u002F071487678X\"\u003EIssues: A History of Photography in Fashion Magazines\u003C\u002Fa\u003E.”","name":"Vince Aletti","socialMedia":[],"url":"\u002Fcontributors\u002Fvince-aletti"},{"dangerousBio":"\u003Ca href=\"\u002Fcontributors\u002Fbrian-seibert\"\u003EBrian Seibert\u003C\u002Fa\u003E has been contributing to \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E since 2002. He is the author of “\u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002FWhat-Eye-Hears-History-Dancing\u002Fdp\u002F0374536511\u002F\"\u003EWhat the Eye Hears: A History of Tap Dancing\u003C\u002Fa\u003E,” which won an Anisfield-Wolf Book Award. His writing appears in the New York \u003Cem\u003ETimes\u003C\u002Fem\u003E and \u003Cem\u003EThe New York Review of Books\u003C\u002Fem\u003E. A Guggenheim fellow, he ... \u003Ca href=\"\u002Fcontributors\u002Fbrian-seibert\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fbrian-seibert\"\u003EBrian Seibert\u003C\u002Fa\u003E has been contributing to The New Yorker since 2002. He is the author of “\u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002FWhat-Eye-Hears-History-Dancing\u002Fdp\u002F0374536511\u002F\"\u003EWhat the Eye Hears: A History of Tap Dancing\u003C\u002Fa\u003E,” which won an Anisfield-Wolf Book Award. His writing appears in the New York Times and the New York Review of Books. A Guggenheim fellow, he teaches at Yale University.","name":"Brian Seibert","socialMedia":[],"url":"\u002Fcontributors\u002Fbrian-seibert"},{"dangerousBio":"\u003Ca href=\"\u002Fcontributors\u002Frichard-brody\"\u003ERichard Brody\u003C\u002Fa\u003E, a film critic at \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E, began contributing in 1999. For his column, \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\"\u003EThe Front Row\u003C\u002Fa\u003E, he has reviewed blockbusters, such as “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\u002Ftop-gun-maverick-reviewed-tom-cruise-takes-empty-thrills-to-new-heights\"\u003ETop Gun: Maverick\u003C\u002Fa\u003E”; international movies, such as “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\u002Fhow-parasite-falls-short-of-greatness\"\u003EParasite\u003C\u002Fa\u003E”; independent films, including “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Frichard-brody\u002Fgreta-gerwigs-exquisite-flawed-lady-bird\"\u003ELady Bird\u003C\u002Fa\u003E”; and documentaries, such as “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\u002Fhow-hindsight-distorts-our-view-of-the-beatles-in-let-it-be\"\u003ELet It Be\u003C\u002Fa\u003E,” the 1970 film about the ... \u003Ca href=\"\u002Fcontributors\u002Frichard-brody\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Frichard-brody\"\u003ERichard Brody\u003C\u002Fa\u003E, a film critic, began writing for \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E in 1999. He is the author of \u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0805080155\u002F\"\u003E“Everything Is Cinema: The Working Life of Jean-Luc Godard\u003C\u002Fa\u003E.”","name":"Richard Brody","photo":{"altText":"","sources":{"sm":{"aspectRatio":"4:3","width":360,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_360,c_limit\u002Fbrody-richard.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_120,c_limit\u002Fbrody-richard.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_240,c_limit\u002Fbrody-richard.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_320,c_limit\u002Fbrody-richard.png 320w"},"md":{"aspectRatio":"4:3","width":640,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_640,c_limit\u002Fbrody-richard.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_120,c_limit\u002Fbrody-richard.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_240,c_limit\u002Fbrody-richard.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_320,c_limit\u002Fbrody-richard.png 320w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_640,c_limit\u002Fbrody-richard.png 640w"},"lg":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_768,c_limit\u002Fbrody-richard.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_120,c_limit\u002Fbrody-richard.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_240,c_limit\u002Fbrody-richard.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_320,c_limit\u002Fbrody-richard.png 320w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_640,c_limit\u002Fbrody-richard.png 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television critic at \u003Cem\u003EThe New Yorker.\u003C\u002Fem\u003E Previously, she was a TV critic at the \u003Cem\u003EWashington Post\u003C\u002Fem\u003E and \u003Cem\u003EThe Hollywood Reporter\u003C\u002Fem\u003E, and a culture writer at Slate. ... \u003Ca href=\"\u002Fcontributors\u002Finkoo-kang\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Finkoo-kang\"\u003EInkoo Kang\u003C\u002Fa\u003E, a staff writer, has been a television critic for \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E since 2022.","name":"Inkoo Kang","photo":{"altText":"","sources":{"sm":{"aspectRatio":"4:3","width":360,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_360,c_limit\u002Finkoo_kang.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_120,c_limit\u002Finkoo_kang.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_240,c_limit\u002Finkoo_kang.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_320,c_limit\u002Finkoo_kang.png 320w"},"md":{"aspectRatio":"4:3","width":640,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_640,c_limit\u002Finkoo_kang.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_120,c_limit\u002Finkoo_kang.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_240,c_limit\u002Finkoo_kang.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_320,c_limit\u002Finkoo_kang.png 320w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_640,c_limit\u002Finkoo_kang.png 640w"},"lg":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_768,c_limit\u002Finkoo_kang.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_120,c_limit\u002Finkoo_kang.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_240,c_limit\u002Finkoo_kang.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_320,c_limit\u002Finkoo_kang.png 320w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_640,c_limit\u002Finkoo_kang.png 640w"},"xl":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_768,c_limit\u002Finkoo_kang.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_120,c_limit\u002Finkoo_kang.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_240,c_limit\u002Finkoo_kang.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_320,c_limit\u002Finkoo_kang.png 320w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_640,c_limit\u002Finkoo_kang.png 640w"}},"segmentedSources":{"sm":[{"aspectRatio":"4:3","width":640,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_640,c_limit\u002Finkoo_kang.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_120,c_limit\u002Finkoo_kang.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_240,c_limit\u002Finkoo_kang.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_320,c_limit\u002Finkoo_kang.png 320w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_640,c_limit\u002Finkoo_kang.png 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She has been covering food for more than a decade as a writer and editor, and won a 2024 James Beard Award for her weekly restaurant-review column, \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fnewsletter\u002Ffood-scene\"\u003EThe Food Scene\u003C\u002Fa\u003E. 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2025","image":{"altText":"A Crowning Moment for the New Orleans King Cake","caption":"For New Orleans natives, finding the fève in a king cake can be a source of delight or dread.","contentType":"photo","credit":"Photo illustration by Jason Fulford and Tamara Shopsin","id":"67bf6654cfbc5d2540830146","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67bf6654cfbc5d2540830146\u002F4:3\u002Fw_768,c_limit\u002Fr45682web-site.jpg","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67bf6654cfbc5d2540830146\u002F4:3\u002Fw_120,c_limit\u002Fr45682web-site.jpg 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67bf6654cfbc5d2540830146\u002F4:3\u002Fw_240,c_limit\u002Fr45682web-site.jpg 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67bf6654cfbc5d2540830146\u002F4:3\u002Fw_320,c_limit\u002Fr45682web-site.jpg 320w, 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Yorker\u003C\u002Fem\u003E, began contributing in 1999. For his column, \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\"\u003EThe Front Row\u003C\u002Fa\u003E, he has reviewed blockbusters, such as “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\u002Ftop-gun-maverick-reviewed-tom-cruise-takes-empty-thrills-to-new-heights\"\u003ETop Gun: Maverick\u003C\u002Fa\u003E”; international movies, such as “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\u002Fhow-parasite-falls-short-of-greatness\"\u003EParasite\u003C\u002Fa\u003E”; independent films, including “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Frichard-brody\u002Fgreta-gerwigs-exquisite-flawed-lady-bird\"\u003ELady Bird\u003C\u002Fa\u003E”; and documentaries, such as “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\u002Fhow-hindsight-distorts-our-view-of-the-beatles-in-let-it-be\"\u003ELet It Be\u003C\u002Fa\u003E,” the 1970 film about the ... \u003Ca href=\"\u002Fcontributors\u002Frichard-brody\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Frichard-brody\"\u003ERichard Brody\u003C\u002Fa\u003E, a film critic, began writing for \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E in 1999. He is the author of \u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0805080155\u002F\"\u003E“Everything Is Cinema: The Working Life of Jean-Luc Godard\u003C\u002Fa\u003E.”","name":"Richard Brody","photo":{"altText":"","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_768,c_limit\u002Fbrody-richard.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_120,c_limit\u002Fbrody-richard.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_240,c_limit\u002Fbrody-richard.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_320,c_limit\u002Fbrody-richard.png 320w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_640,c_limit\u002Fbrody-richard.png 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For his column, \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\"\u003EThe Front Row\u003C\u002Fa\u003E, he has reviewed blockbusters, such as “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\u002Ftop-gun-maverick-reviewed-tom-cruise-takes-empty-thrills-to-new-heights\"\u003ETop Gun: Maverick\u003C\u002Fa\u003E”; international movies, such as “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\u002Fhow-parasite-falls-short-of-greatness\"\u003EParasite\u003C\u002Fa\u003E”; independent films, including “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Frichard-brody\u002Fgreta-gerwigs-exquisite-flawed-lady-bird\"\u003ELady Bird\u003C\u002Fa\u003E”; and documentaries, such as “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\u002Fhow-hindsight-distorts-our-view-of-the-beatles-in-let-it-be\"\u003ELet It Be\u003C\u002Fa\u003E,” the 1970 film about the ... \u003Ca href=\"\u002Fcontributors\u002Frichard-brody\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Frichard-brody\"\u003ERichard Brody\u003C\u002Fa\u003E, a film critic, began writing for \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E in 1999. 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Paris,” centers the abuse that Schneider endured on that shoot, and its lifelong aftereffects.","date":"March 20, 2025","pubDate":"2025-03-20T14:47:58.321Z","issueDate":"","image":{"altText":"“Being Maria” Brings Maria Schneider’s Traumatic Career to Light","caption":"Anamaria Vartolomei stars as Maria Schneider, with Matt Dillon as Marlon Brando, in “Being Maria.”","contentType":"photo","credit":"Courtesy Haut et Court","id":"67d852b4186d3b7cd73d6a80","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67d852b4186d3b7cd73d6a80\u002F4:3\u002Fw_768,c_limit\u002FBrody_Maria.jpg","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67d852b4186d3b7cd73d6a80\u002F4:3\u002Fw_120,c_limit\u002FBrody_Maria.jpg 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67d852b4186d3b7cd73d6a80\u002F4:3\u002Fw_240,c_limit\u002FBrody_Maria.jpg 240w, 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Previously, she was the theatre critic at \u003Cem\u003ENew York\u003C\u002Fem\u003E magazine and its culture vertical, \u003Cem\u003EVulture\u003C\u002Fem\u003E. She has also written about theatre and performance for 4Columns and \u003Cem\u003ETime Out New York\u003C\u002Fem\u003E and contributed to the New York \u003Cem\u003ESun\u003C\u002Fem\u003E, \u003Cem\u003EAmerican\u003C\u002Fem\u003E ... \u003Ca href=\"\u002Fcontributors\u002Fhelen-shaw\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fhelen-shaw\"\u003EHelen Shaw\u003C\u002Fa\u003E joined The New Yorker as a staff writer in 2022. 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For his column, \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\"\u003EThe Front Row\u003C\u002Fa\u003E, he has reviewed blockbusters, such as “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\u002Ftop-gun-maverick-reviewed-tom-cruise-takes-empty-thrills-to-new-heights\"\u003ETop Gun: Maverick\u003C\u002Fa\u003E”; international movies, such as “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\u002Fhow-parasite-falls-short-of-greatness\"\u003EParasite\u003C\u002Fa\u003E”; independent films, including “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Frichard-brody\u002Fgreta-gerwigs-exquisite-flawed-lady-bird\"\u003ELady Bird\u003C\u002Fa\u003E”; and documentaries, such as “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\u002Fhow-hindsight-distorts-our-view-of-the-beatles-in-let-it-be\"\u003ELet It Be\u003C\u002Fa\u003E,” the 1970 film about the ... \u003Ca href=\"\u002Fcontributors\u002Frichard-brody\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Frichard-brody\"\u003ERichard Brody\u003C\u002Fa\u003E, a film critic, began writing for \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E in 1999. He is the author of \u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0805080155\u002F\"\u003E“Everything Is Cinema: The Working Life of Jean-Luc Godard\u003C\u002Fa\u003E.”","name":"Richard Brody","photo":{"altText":"","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_768,c_limit\u002Fbrody-richard.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_120,c_limit\u002Fbrody-richard.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_240,c_limit\u002Fbrody-richard.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_320,c_limit\u002Fbrody-richard.png 320w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_640,c_limit\u002Fbrody-richard.png 640w"},"lg":{"aspectRatio":"4:3","width":1280,"sizes":"25vw","url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_1280,c_limit\u002Fbrody-richard.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_120,c_limit\u002Fbrody-richard.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_240,c_limit\u002Fbrody-richard.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_320,c_limit\u002Fbrody-richard.png 320w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_640,c_limit\u002Fbrody-richard.png 640w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_960,c_limit\u002Fbrody-richard.png 960w, 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href=\"\u002Fcontributors\u002Fjane-bua\"\u003EJane Bua\u003C\u002Fa\u003E is a member of The New Yorker’s editorial staff.","name":"Jane Bua","socialMedia":[],"url":"\u002Fcontributors\u002Fjane-bua"},{"dangerousBio":"\u003Ca href=\"\u002Fcontributors\u002Fbrian-seibert\"\u003EBrian Seibert\u003C\u002Fa\u003E has been contributing to \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E since 2002. He is the author of “\u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002FWhat-Eye-Hears-History-Dancing\u002Fdp\u002F0374536511\u002F\"\u003EWhat the Eye Hears: A History of Tap Dancing\u003C\u002Fa\u003E,” which won an Anisfield-Wolf Book Award. His writing appears in the New York \u003Cem\u003ETimes\u003C\u002Fem\u003E and \u003Cem\u003EThe New York Review of Books\u003C\u002Fem\u003E. A Guggenheim fellow, he ... \u003Ca href=\"\u002Fcontributors\u002Fbrian-seibert\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fbrian-seibert\"\u003EBrian Seibert\u003C\u002Fa\u003E has been contributing to The New Yorker since 2002. He is the author of “\u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002FWhat-Eye-Hears-History-Dancing\u002Fdp\u002F0374536511\u002F\"\u003EWhat the Eye Hears: A History of Tap Dancing\u003C\u002Fa\u003E,” which won an Anisfield-Wolf Book Award. His writing appears in the New York Times and the New York Review of Books. A Guggenheim fellow, he teaches at Yale University.","name":"Brian Seibert","socialMedia":[],"url":"\u002Fcontributors\u002Fbrian-seibert"},{"dangerousBio":"\u003Ca href=\"\u002Fcontributors\u002Fsheldon-pearce\"\u003ESheldon Pearce\u003C\u002Fa\u003E is a music writer and was the music editor of Goings On About Town. Previously, he was a contributing writer at Pitchfork. He has worked for NPR Music, and his writing has appeared in the \u003Cem\u003EGuardian\u003C\u002Fem\u003E, \u003Cem\u003ERolling Stone\u003C\u002Fem\u003E, \u003Cem\u003EThe Fader\u003C\u002Fem\u003E, \u003Cem\u003ESpin\u003C\u002Fem\u003E, \u003Cem\u003EComplex\u003C\u002Fem\u003E, Deadspin, and others. He wrote \u003Cem\u003EThe\u003C\u002Fem\u003E ... \u003Ca href=\"\u002Fcontributors\u002Fsheldon-pearce\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fsheldon-pearce\"\u003ESheldon Pearce\u003C\u002Fa\u003E is a music writer for \u003Cem\u003EThe New Yorker’s\u003C\u002Fem\u003E Goings On newsletter.","name":"Sheldon Pearce","photo":{"altText":"","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5f316541afc71fe17cc0d0f7\u002F4:3\u002Fw_768,c_limit\u002Fsheldon_pearce_avatar.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5f316541afc71fe17cc0d0f7\u002F4:3\u002Fw_120,c_limit\u002Fsheldon_pearce_avatar.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5f316541afc71fe17cc0d0f7\u002F4:3\u002Fw_240,c_limit\u002Fsheldon_pearce_avatar.png 240w, 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In addition to his work for \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E, he reviews photography books for \u003Cem\u003EPhotograph\u003C\u002Fem\u003E. His work has also appeared in \u003Cem\u003EAperture, Art + Auction\u003C\u002Fem\u003E, and \u003Cem\u003Ephotoworks\u003C\u002Fem\u003E. Aletti was the art editor of the \u003Cem\u003EVillage Voice\u003C\u002Fem\u003E from 1994 to 2005 and the paper’s photo critic for ... \u003Ca href=\"\u002Fcontributors\u002Fvince-aletti\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fvince-aletti\"\u003EVince Aletti\u003C\u002Fa\u003E is a photography critic and the author of “\u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002FIssues-History-Photography-Fashion-Magazines\u002Fdp\u002F071487678X\"\u003EIssues: A History of Photography in Fashion Magazines\u003C\u002Fa\u003E.”","name":"Vince Aletti","socialMedia":[],"url":"\u002Fcontributors\u002Fvince-aletti"},{"dangerousBio":"\u003Ca href=\"\u002Fcontributors\u002Fhelen-shaw\"\u003EHelen Shaw\u003C\u002Fa\u003E, \u003Cem\u003EThe New Yorker’s\u003C\u002Fem\u003E theatre critic, joined the magazine in 2022. Previously, she was the theatre critic at \u003Cem\u003ENew York\u003C\u002Fem\u003E magazine and its culture vertical, \u003Cem\u003EVulture\u003C\u002Fem\u003E. She has also written about theatre and performance for 4Columns and \u003Cem\u003ETime Out New York\u003C\u002Fem\u003E and contributed to the New York \u003Cem\u003ESun\u003C\u002Fem\u003E, \u003Cem\u003EAmerican\u003C\u002Fem\u003E ... \u003Ca href=\"\u002Fcontributors\u002Fhelen-shaw\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fhelen-shaw\"\u003EHelen Shaw\u003C\u002Fa\u003E joined The New Yorker as a staff writer in 2022. She received a 2025 Grace Dudley Prize for Arts Writing.","name":"Helen Shaw","photo":{"altText":"","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F62d199a936a2e7a706212ab9\u002F4:3\u002Fw_768,c_limit\u002Fhelen_shaw-avatar.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F62d199a936a2e7a706212ab9\u002F4:3\u002Fw_120,c_limit\u002Fhelen_shaw-avatar.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F62d199a936a2e7a706212ab9\u002F4:3\u002Fw_240,c_limit\u002Fhelen_shaw-avatar.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F62d199a936a2e7a706212ab9\u002F4:3\u002Fw_320,c_limit\u002Fhelen_shaw-avatar.png 320w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F62d199a936a2e7a706212ab9\u002F4:3\u002Fw_640,c_limit\u002Fhelen_shaw-avatar.png 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He is the author of “\u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002FWhat-Eye-Hears-History-Dancing\u002Fdp\u002F0374536511\u002F\"\u003EWhat the Eye Hears: A History of Tap Dancing\u003C\u002Fa\u003E,” which won an Anisfield-Wolf Book Award. His writing appears in the New York \u003Cem\u003ETimes\u003C\u002Fem\u003E and \u003Cem\u003EThe New York Review of Books\u003C\u002Fem\u003E. A Guggenheim fellow, he ... \u003Ca href=\"\u002Fcontributors\u002Fbrian-seibert\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fbrian-seibert\"\u003EBrian Seibert\u003C\u002Fa\u003E has been contributing to The New Yorker since 2002. He is the author of “\u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002FWhat-Eye-Hears-History-Dancing\u002Fdp\u002F0374536511\u002F\"\u003EWhat the Eye Hears: A History of Tap Dancing\u003C\u002Fa\u003E,” which won an Anisfield-Wolf Book Award. His writing appears in the New York Times and the New York Review of Books. A Guggenheim fellow, he teaches at Yale University.","name":"Brian Seibert","socialMedia":[],"url":"\u002Fcontributors\u002Fbrian-seibert"},{"dangerousBio":"\u003Ca href=\"\u002Fcontributors\u002Fsheldon-pearce\"\u003ESheldon Pearce\u003C\u002Fa\u003E is a music writer and was the music editor of Goings On About Town. Previously, he was a contributing writer at Pitchfork. He has worked for NPR Music, and his writing has appeared in the \u003Cem\u003EGuardian\u003C\u002Fem\u003E, \u003Cem\u003ERolling Stone\u003C\u002Fem\u003E, \u003Cem\u003EThe Fader\u003C\u002Fem\u003E, \u003Cem\u003ESpin\u003C\u002Fem\u003E, \u003Cem\u003EComplex\u003C\u002Fem\u003E, Deadspin, and others. He wrote \u003Cem\u003EThe\u003C\u002Fem\u003E ... \u003Ca href=\"\u002Fcontributors\u002Fsheldon-pearce\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fsheldon-pearce\"\u003ESheldon Pearce\u003C\u002Fa\u003E is a music writer for \u003Cem\u003EThe New Yorker’s\u003C\u002Fem\u003E Goings On newsletter.","name":"Sheldon Pearce","photo":{"altText":"","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5f316541afc71fe17cc0d0f7\u002F4:3\u002Fw_768,c_limit\u002Fsheldon_pearce_avatar.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5f316541afc71fe17cc0d0f7\u002F4:3\u002Fw_120,c_limit\u002Fsheldon_pearce_avatar.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5f316541afc71fe17cc0d0f7\u002F4:3\u002Fw_240,c_limit\u002Fsheldon_pearce_avatar.png 240w, 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1600w"}},"segmentedSources":{"sm":[{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5f316541afc71fe17cc0d0f7\u002F4:3\u002Fw_768,c_limit\u002Fsheldon_pearce_avatar.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5f316541afc71fe17cc0d0f7\u002F4:3\u002Fw_120,c_limit\u002Fsheldon_pearce_avatar.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5f316541afc71fe17cc0d0f7\u002F4:3\u002Fw_240,c_limit\u002Fsheldon_pearce_avatar.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5f316541afc71fe17cc0d0f7\u002F4:3\u002Fw_320,c_limit\u002Fsheldon_pearce_avatar.png 320w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5f316541afc71fe17cc0d0f7\u002F4:3\u002Fw_640,c_limit\u002Fsheldon_pearce_avatar.png 640w"}],"lg":[{"aspectRatio":"4:3","width":1600,"sizes":"25vw","url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5f316541afc71fe17cc0d0f7\u002F4:3\u002Fw_1600,c_limit\u002Fsheldon_pearce_avatar.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5f316541afc71fe17cc0d0f7\u002F4:3\u002Fw_120,c_limit\u002Fsheldon_pearce_avatar.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5f316541afc71fe17cc0d0f7\u002F4:3\u002Fw_240,c_limit\u002Fsheldon_pearce_avatar.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5f316541afc71fe17cc0d0f7\u002F4:3\u002Fw_320,c_limit\u002Fsheldon_pearce_avatar.png 320w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5f316541afc71fe17cc0d0f7\u002F4:3\u002Fw_640,c_limit\u002Fsheldon_pearce_avatar.png 640w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5f316541afc71fe17cc0d0f7\u002F4:3\u002Fw_960,c_limit\u002Fsheldon_pearce_avatar.png 960w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5f316541afc71fe17cc0d0f7\u002F4:3\u002Fw_1280,c_limit\u002Fsheldon_pearce_avatar.png 1280w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5f316541afc71fe17cc0d0f7\u002F4:3\u002Fw_1600,c_limit\u002Fsheldon_pearce_avatar.png 1600w"}]}},"socialMedia":[],"url":"\u002Fcontributors\u002Fsheldon-pearce"},{"dangerousBio":"\u003Ca href=\"\u002Fcontributors\u002Fjackson-arn\"\u003EJackson Arn\u003C\u002Fa\u003E served as \u003Cem\u003EThe New Yorker’s\u003C\u002Fem\u003E art critic. He has written about books, paintings, and tiki bars for \u003Cem\u003EArt in America\u003C\u002Fem\u003E, \u003Cem\u003EThe Drift\u003C\u002Fem\u003E, \u003Cem\u003EArtforum\u003C\u002Fem\u003E, \u003Cem\u003EThe Nation\u003C\u002Fem\u003E, and various other publications. ... \u003Ca href=\"\u002Fcontributors\u002Fjackson-arn\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fjackson-arn\"\u003EJackson Arn\u003C\u002Fa\u003E was \u003Cem\u003EThe New Yorker’s\u003C\u002Fem\u003E art critic.","name":"Jackson Arn","photo":{"altText":"","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66b0f81542153210221cd890\u002F4:3\u002Fw_768,c_limit\u002FJackson_Arn.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66b0f81542153210221cd890\u002F4:3\u002Fw_120,c_limit\u002FJackson_Arn.png 120w, 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For his column, \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\"\u003EThe Front Row\u003C\u002Fa\u003E, he has reviewed blockbusters, such as “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\u002Ftop-gun-maverick-reviewed-tom-cruise-takes-empty-thrills-to-new-heights\"\u003ETop Gun: Maverick\u003C\u002Fa\u003E”; international movies, such as “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\u002Fhow-parasite-falls-short-of-greatness\"\u003EParasite\u003C\u002Fa\u003E”; independent films, including “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Frichard-brody\u002Fgreta-gerwigs-exquisite-flawed-lady-bird\"\u003ELady Bird\u003C\u002Fa\u003E”; and documentaries, such as “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\u002Fhow-hindsight-distorts-our-view-of-the-beatles-in-let-it-be\"\u003ELet It Be\u003C\u002Fa\u003E,” the 1970 film about the ... \u003Ca href=\"\u002Fcontributors\u002Frichard-brody\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Frichard-brody\"\u003ERichard Brody\u003C\u002Fa\u003E, a film critic, began writing for \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E in 1999. He is the author of \u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0805080155\u002F\"\u003E“Everything Is Cinema: The Working Life of Jean-Luc Godard\u003C\u002Fa\u003E.”","name":"Richard Brody","photo":{"altText":"","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_768,c_limit\u002Fbrody-richard.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_120,c_limit\u002Fbrody-richard.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_240,c_limit\u002Fbrody-richard.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_320,c_limit\u002Fbrody-richard.png 320w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b758b51cf59fc423c61\u002F4:3\u002Fw_640,c_limit\u002Fbrody-richard.png 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Her recent work includes profiles of the actors \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F04\u002F11\u002Fin-russian-doll-natasha-lyonne-barrels-into-the-past\"\u003ENatasha Lyonne\u003C\u002Fa\u003E and \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F06\u002F26\u002Fsarah-jessica-parker-profile\"\u003ESarah Jessica Parker\u003C\u002Fa\u003E, the director \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2024\u002F01\u002F29\u002Fsofia-coppola-profile\"\u003ESofia Coppola\u003C\u002Fa\u003E, the Netflix television executive \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2023\u002F01\u002F16\u002Fhow-much-more-netflix-can-the-world-absorb-bela-bajaria\"\u003EBela Bajaria\u003C\u002Fa\u003E, the theatre director ... \u003Ca href=\"\u002Fcontributors\u002Frachel-syme\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Frachel-syme\"\u003ERachel Syme\u003C\u002Fa\u003E is a staff writer at \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E. She has covered Hollywood, style, and other cultural subjects since 2012. She is the author of “\u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002FSymes-Letter-Writer-Correspondence-Imaginable\u002Fdp\u002F059323510X\"\u003ESyme’s Letter Writer\u003C\u002Fa\u003E,” about the joys of handwritten correspondence.","name":"Rachel Syme","photo":{"altText":"","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5e7bc3aeba0e6f0009421c5b\u002F4:3\u002Fw_768,c_limit\u002FRachelSyme.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5e7bc3aeba0e6f0009421c5b\u002F4:3\u002Fw_120,c_limit\u002FRachelSyme.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5e7bc3aeba0e6f0009421c5b\u002F4:3\u002Fw_240,c_limit\u002FRachelSyme.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5e7bc3aeba0e6f0009421c5b\u002F4:3\u002Fw_320,c_limit\u002FRachelSyme.png 320w, 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Previously, she was the theatre critic at \u003Cem\u003ENew York\u003C\u002Fem\u003E magazine and its culture vertical, \u003Cem\u003EVulture\u003C\u002Fem\u003E. She has also written about theatre and performance for 4Columns and \u003Cem\u003ETime Out New York\u003C\u002Fem\u003E and contributed to the New York \u003Cem\u003ESun\u003C\u002Fem\u003E, \u003Cem\u003EAmerican\u003C\u002Fem\u003E ... \u003Ca href=\"\u002Fcontributors\u002Fhelen-shaw\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fhelen-shaw\"\u003EHelen Shaw\u003C\u002Fa\u003E joined The New Yorker as a staff writer in 2022. 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He has written about books, paintings, and tiki bars for \u003Cem\u003EArt in America\u003C\u002Fem\u003E, \u003Cem\u003EThe Drift\u003C\u002Fem\u003E, \u003Cem\u003EArtforum\u003C\u002Fem\u003E, \u003Cem\u003EThe Nation\u003C\u002Fem\u003E, and various other publications. ... \u003Ca href=\"\u002Fcontributors\u002Fjackson-arn\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fjackson-arn\"\u003EJackson Arn\u003C\u002Fa\u003E was \u003Cem\u003EThe New Yorker’s\u003C\u002Fem\u003E art critic.","name":"Jackson Arn","photo":{"altText":"","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66b0f81542153210221cd890\u002F4:3\u002Fw_768,c_limit\u002FJackson_Arn.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66b0f81542153210221cd890\u002F4:3\u002Fw_120,c_limit\u002FJackson_Arn.png 120w, 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She is the author of “\u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002FBoy-Kyiv-Alexei-Ratmanskys-Ballet\u002Fdp\u002F1250338263\"\u003EThe Boy from Kyiv: Alexei Ratmansky's Life in Ballet\u003C\u002Fa\u003E.”","name":"Marina Harss","socialMedia":[],"url":"\u002Fcontributors\u002Fmarina-harss"},{"dangerousBio":null,"dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Ffergus-mcintosh\"\u003EFergus McIntosh\u003C\u002Fa\u003E is the head research editor at The New Yorker and runs the magazine’s fact-checking department.","name":"Fergus McIntosh","socialMedia":[],"url":"\u002Fcontributors\u002Ffergus-mcintosh"},{"dangerousBio":"\u003Ca href=\"\u002Fcontributors\u002Finkoo-kang\"\u003EInkoo Kang\u003C\u002Fa\u003E is a television critic at \u003Cem\u003EThe New Yorker.\u003C\u002Fem\u003E Previously, she was a TV critic at the \u003Cem\u003EWashington Post\u003C\u002Fem\u003E and \u003Cem\u003EThe Hollywood Reporter\u003C\u002Fem\u003E, and a culture writer at Slate. ... \u003Ca href=\"\u002Fcontributors\u002Finkoo-kang\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Finkoo-kang\"\u003EInkoo Kang\u003C\u002Fa\u003E, a staff writer, has been a television critic for \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E since 2022.","name":"Inkoo Kang","photo":{"altText":"","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_768,c_limit\u002Finkoo_kang.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_120,c_limit\u002Finkoo_kang.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_240,c_limit\u002Finkoo_kang.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F66aa8e094d8b42f50762a9d8\u002F4:3\u002Fw_320,c_limit\u002Finkoo_kang.png 320w, 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For his column, \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\"\u003EThe Front Row\u003C\u002Fa\u003E, he has reviewed blockbusters, such as “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\u002Ftop-gun-maverick-reviewed-tom-cruise-takes-empty-thrills-to-new-heights\"\u003ETop Gun: Maverick\u003C\u002Fa\u003E”; international movies, such as “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\u002Fhow-parasite-falls-short-of-greatness\"\u003EParasite\u003C\u002Fa\u003E”; independent films, including “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Frichard-brody\u002Fgreta-gerwigs-exquisite-flawed-lady-bird\"\u003ELady Bird\u003C\u002Fa\u003E”; and documentaries, such as “\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fthe-front-row\u002Fhow-hindsight-distorts-our-view-of-the-beatles-in-let-it-be\"\u003ELet It Be\u003C\u002Fa\u003E,” the 1970 film about the ... \u003Ca href=\"\u002Fcontributors\u002Frichard-brody\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Frichard-brody\"\u003ERichard Brody\u003C\u002Fa\u003E, a film critic, began writing for \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E in 1999. 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