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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="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 Limits of A.I.-Generated Miyazaki","id":"67ec2c8ba3893af6426b797e","index":0,"contentType":"venue","hotelLink":"/culture/infinite-scroll/the-limits-of-ai-generated-miyazaki","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/infinite-scroll/the-limits-of-ai-generated-miyazaki" 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/67ec50dac11f6d476d0486ac/4:3/w_120,c_limit/NewYorker_AIArtwork_final%20(1).jpg 120w, https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_240,c_limit/NewYorker_AIArtwork_final%20(1).jpg 240w, https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_320,c_limit/NewYorker_AIArtwork_final%20(1).jpg 320w, https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_640,c_limit/NewYorker_AIArtwork_final%20(1).jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_120,c_limit/NewYorker_AIArtwork_final%20(1).jpg 120w, https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_240,c_limit/NewYorker_AIArtwork_final%20(1).jpg 240w, https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_320,c_limit/NewYorker_AIArtwork_final%20(1).jpg 320w, https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_640,c_limit/NewYorker_AIArtwork_final%20(1).jpg 640w, https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_960,c_limit/NewYorker_AIArtwork_final%20(1).jpg 960w, https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_1280,c_limit/NewYorker_AIArtwork_final%20(1).jpg 1280w, https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_1600,c_limit/NewYorker_AIArtwork_final%20(1).jpg 1600w" sizes="100vw"/><img alt="The Limits of A.I.-Generated Miyazaki" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_1600%2Cc_limit/NewYorker_AIArtwork_final%2520(1).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">Infinite Scroll</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/infinite-scroll/the-limits-of-ai-generated-miyazaki" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Limits of A.I.-Generated Miyazaki</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/infinite-scroll/the-limits-of-ai-generated-miyazaki" 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/67ec50dac11f6d476d0486ac/4:3/w_120,c_limit/NewYorker_AIArtwork_final%20(1).jpg 120w, https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_240,c_limit/NewYorker_AIArtwork_final%20(1).jpg 240w, https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_320,c_limit/NewYorker_AIArtwork_final%20(1).jpg 320w, https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_640,c_limit/NewYorker_AIArtwork_final%20(1).jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_120,c_limit/NewYorker_AIArtwork_final%20(1).jpg 120w, https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_240,c_limit/NewYorker_AIArtwork_final%20(1).jpg 240w, https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_320,c_limit/NewYorker_AIArtwork_final%20(1).jpg 320w, https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_640,c_limit/NewYorker_AIArtwork_final%20(1).jpg 640w, https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_960,c_limit/NewYorker_AIArtwork_final%20(1).jpg 960w, https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_1280,c_limit/NewYorker_AIArtwork_final%20(1).jpg 1280w, https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_1600,c_limit/NewYorker_AIArtwork_final%20(1).jpg 1600w" sizes="100vw"/><img alt="The Limits of A.I.-Generated Miyazaki" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ec50dac11f6d476d0486ac/4:3/w_1600%2Cc_limit/NewYorker_AIArtwork_final%2520(1).jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The launch of GPT-4o inspired a rash of A.I.-generated Studio Ghibli-style images. They may bode worse for audiences than for artists.</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>Kyle Chayka</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 “Snow White” Controversy, Like Our Zeitgeist, Is Both Stupid and Sinister","id":"67eac5ea08aeb5922ca83905","index":1,"contentType":"venue","hotelLink":"/culture/the-lede/the-snow-white-controversy-like-our-zeitgeist-is-both-stupid-and-sinister","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-lede/the-snow-white-controversy-like-our-zeitgeist-is-both-stupid-and-sinister" 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/67eae15520903a45193287e7/4:3/w_120,c_limit/Winter_Zegler.jpg 120w, https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_240,c_limit/Winter_Zegler.jpg 240w, https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_320,c_limit/Winter_Zegler.jpg 320w, https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_640,c_limit/Winter_Zegler.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_120,c_limit/Winter_Zegler.jpg 120w, https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_240,c_limit/Winter_Zegler.jpg 240w, https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_320,c_limit/Winter_Zegler.jpg 320w, https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_640,c_limit/Winter_Zegler.jpg 640w, https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_960,c_limit/Winter_Zegler.jpg 960w, https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_1280,c_limit/Winter_Zegler.jpg 1280w, https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_1600,c_limit/Winter_Zegler.jpg 1600w" sizes="100vw"/><img alt="The “Snow White” Controversy, Like Our Zeitgeist, Is Both Stupid and Sinister" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_1600%2Cc_limit/Winter_Zegler.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 Lede</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-lede/the-snow-white-controversy-like-our-zeitgeist-is-both-stupid-and-sinister" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The “Snow White” Controversy, Like Our Zeitgeist, Is Both Stupid and Sinister</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-lede/the-snow-white-controversy-like-our-zeitgeist-is-both-stupid-and-sinister" 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/67eae15520903a45193287e7/4:3/w_120,c_limit/Winter_Zegler.jpg 120w, https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_240,c_limit/Winter_Zegler.jpg 240w, https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_320,c_limit/Winter_Zegler.jpg 320w, https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_640,c_limit/Winter_Zegler.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_120,c_limit/Winter_Zegler.jpg 120w, https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_240,c_limit/Winter_Zegler.jpg 240w, https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_320,c_limit/Winter_Zegler.jpg 320w, https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_640,c_limit/Winter_Zegler.jpg 640w, https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_960,c_limit/Winter_Zegler.jpg 960w, https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_1280,c_limit/Winter_Zegler.jpg 1280w, https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_1600,c_limit/Winter_Zegler.jpg 1600w" sizes="100vw"/><img alt="The “Snow White” Controversy, Like Our Zeitgeist, Is Both Stupid and Sinister" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67eae15520903a45193287e7/4:3/w_1600%2Cc_limit/Winter_Zegler.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Placing the failure of the live-action remake largely at Rachel Zegler’s feet is almost perversely flattering to her.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Jessica Winter</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff 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":"Are We Taking A.I. Seriously Enough?","id":"67ea941916c8e52dfe6b1062","index":2,"contentType":"venue","hotelLink":"/culture/open-questions/are-we-taking-ai-seriously-enough","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/open-questions/are-we-taking-ai-seriously-enough" 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/67eb054264ef5645e82997a1/4:3/w_120,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 120w, https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_240,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 240w, https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_320,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 320w, https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_640,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_120,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 120w, https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_240,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 240w, https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_320,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 320w, https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_640,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 640w, https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_960,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 960w, https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_1280,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 1280w, https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_1600,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 1600w" sizes="100vw"/><img alt="Are We Taking A.I. Seriously Enough?" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_1600%2Cc_limit/NewYorker_OpenQuestions_AIscaling_final-7.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">Open Questions</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/open-questions/are-we-taking-ai-seriously-enough" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Are We Taking A.I. Seriously Enough?</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/open-questions/are-we-taking-ai-seriously-enough" 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/67eb054264ef5645e82997a1/4:3/w_120,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 120w, https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_240,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 240w, https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_320,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 320w, https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_640,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_120,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 120w, https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_240,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 240w, https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_320,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 320w, https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_640,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 640w, https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_960,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 960w, https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_1280,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 1280w, https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_1600,c_limit/NewYorker_OpenQuestions_AIscaling_final-7.png 1600w" sizes="100vw"/><img alt="Are We Taking A.I. Seriously Enough?" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67eb054264ef5645e82997a1/4:3/w_1600%2Cc_limit/NewYorker_OpenQuestions_AIscaling_final-7.png"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">There’s no longer any scenario in which A.I. fades into irrelevance. We urgently need voices from outside the industry to help shape its future.</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>Joshua Rothman</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":"Fighting Elon Musk, One Tesla Dealership at a Time","id":"67e71b9cea1fb9162f45cc39","index":3,"contentType":"venue","hotelLink":"/culture/the-lede/fighting-elon-musk-one-tesla-dealership-at-a-time","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-lede/fighting-elon-musk-one-tesla-dealership-at-a-time" 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/67eaed108e94a6570525fb21/4:3/w_120,c_limit/Larson-Tesla.jpg 120w, https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_240,c_limit/Larson-Tesla.jpg 240w, https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_320,c_limit/Larson-Tesla.jpg 320w, https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_640,c_limit/Larson-Tesla.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_120,c_limit/Larson-Tesla.jpg 120w, https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_240,c_limit/Larson-Tesla.jpg 240w, https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_320,c_limit/Larson-Tesla.jpg 320w, https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_640,c_limit/Larson-Tesla.jpg 640w, https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_960,c_limit/Larson-Tesla.jpg 960w, https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_1280,c_limit/Larson-Tesla.jpg 1280w, https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_1600,c_limit/Larson-Tesla.jpg 1600w" sizes="100vw"/><img alt="Fighting Elon Musk, One Tesla Dealership at a Time" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_1600%2Cc_limit/Larson-Tesla.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 Lede</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-lede/fighting-elon-musk-one-tesla-dealership-at-a-time" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Fighting Elon Musk, One Tesla Dealership at a Time</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-lede/fighting-elon-musk-one-tesla-dealership-at-a-time" 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/67eaed108e94a6570525fb21/4:3/w_120,c_limit/Larson-Tesla.jpg 120w, https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_240,c_limit/Larson-Tesla.jpg 240w, https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_320,c_limit/Larson-Tesla.jpg 320w, https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_640,c_limit/Larson-Tesla.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_120,c_limit/Larson-Tesla.jpg 120w, https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_240,c_limit/Larson-Tesla.jpg 240w, https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_320,c_limit/Larson-Tesla.jpg 320w, https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_640,c_limit/Larson-Tesla.jpg 640w, https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_960,c_limit/Larson-Tesla.jpg 960w, https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_1280,c_limit/Larson-Tesla.jpg 1280w, https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_1600,c_limit/Larson-Tesla.jpg 1600w" sizes="100vw"/><img alt="Fighting Elon Musk, One Tesla Dealership at a Time" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67eaed108e94a6570525fb21/4:3/w_1600%2Cc_limit/Larson-Tesla.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">“It’s ironic that, as a pro-democracy and pro-climate group, we’re protesting against electric cars,” one activist said. “But you cannot sacrifice our democracy for one piece of the thing.”</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="AdWrapper-dQtivb fZrssQ SummaryCollectionGridSummaryItem-WColm gyTvwi ad ad--read-more"><div class="ad__slot ad__slot--read-more" data-node-id="t9yhdf"></div></div></div><div class="SummaryCollectionGridToActionWrapper-gnReGN eGayfk"></div></div></div></div></div></div><div data-testid="RowWrapper" id="books" 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">Books</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":"Neige Sinno Doesn’t Believe in Writing as Therapy","id":"67eae7563b489da1496c0184","index":0,"contentType":"venue","hotelLink":"/books/page-turner/neige-sinno-doesnt-believe-in-writing-as-therapy","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/neige-sinno-doesnt-believe-in-writing-as-therapy" 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/67eae7bd1b7202403928d9ae/4:3/w_120,c_limit/Camhi-GettyImages-1684365566.jpg 120w, https://media.newyorker.com/photos/67eae7bd1b7202403928d9ae/4:3/w_240,c_limit/Camhi-GettyImages-1684365566.jpg 240w, https://media.newyorker.com/photos/67eae7bd1b7202403928d9ae/4:3/w_320,c_limit/Camhi-GettyImages-1684365566.jpg 320w, https://media.newyorker.com/photos/67eae7bd1b7202403928d9ae/4:3/w_640,c_limit/Camhi-GettyImages-1684365566.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67eae7bd1b7202403928d9ae/4:3/w_120,c_limit/Camhi-GettyImages-1684365566.jpg 120w, https://media.newyorker.com/photos/67eae7bd1b7202403928d9ae/4:3/w_240,c_limit/Camhi-GettyImages-1684365566.jpg 240w, https://media.newyorker.com/photos/67eae7bd1b7202403928d9ae/4:3/w_320,c_limit/Camhi-GettyImages-1684365566.jpg 320w, https://media.newyorker.com/photos/67eae7bd1b7202403928d9ae/4:3/w_640,c_limit/Camhi-GettyImages-1684365566.jpg 640w, https://media.newyorker.com/photos/67eae7bd1b7202403928d9ae/4:3/w_960,c_limit/Camhi-GettyImages-1684365566.jpg 960w, https://media.newyorker.com/photos/67eae7bd1b7202403928d9ae/4:3/w_1280,c_limit/Camhi-GettyImages-1684365566.jpg 1280w, https://media.newyorker.com/photos/67eae7bd1b7202403928d9ae/4:3/w_1600,c_limit/Camhi-GettyImages-1684365566.jpg 1600w" sizes="100vw"/><img alt="Neige Sinno Doesn’t Believe in Writing as Therapy" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67eae7bd1b7202403928d9ae/4:3/w_1600%2Cc_limit/Camhi-GettyImages-1684365566.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/neige-sinno-doesnt-believe-in-writing-as-therapy" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Neige Sinno Doesn’t Believe in Writing as Therapy</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/neige-sinno-doesnt-believe-in-writing-as-therapy" 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/67eae7bd1b7202403928d9ae/4:3/w_120,c_limit/Camhi-GettyImages-1684365566.jpg 120w, 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https://media.newyorker.com/photos/67eae7bd1b7202403928d9ae/4:3/w_1280,c_limit/Camhi-GettyImages-1684365566.jpg 1280w, https://media.newyorker.com/photos/67eae7bd1b7202403928d9ae/4:3/w_1600,c_limit/Camhi-GettyImages-1684365566.jpg 1600w" sizes="100vw"/><img alt="Neige Sinno Doesn’t Believe in Writing as Therapy" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67eae7bd1b7202403928d9ae/4:3/w_1600%2Cc_limit/Camhi-GettyImages-1684365566.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The French author’s award-winning memoir, “Sad Tiger,” is a richly literary and starkly shattering account of childhood sexual abuse.</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>Leslie Camhi</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":"Fredrik Backman on the Art of Scandinavian Storytelling","id":"67dc8ce4214a2650cf07edaf","index":1,"contentType":"venue","hotelLink":"/books/book-currents/fredrik-backman-on-the-art-of-scandinavian-storytelling","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/fredrik-backman-on-the-art-of-scandinavian-storytelling" 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/67eada603134bb0fed4f30a9/4:3/w_120,c_limit/Book_Currents_331.jpg 120w, https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_240,c_limit/Book_Currents_331.jpg 240w, https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_320,c_limit/Book_Currents_331.jpg 320w, https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_640,c_limit/Book_Currents_331.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_120,c_limit/Book_Currents_331.jpg 120w, https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_240,c_limit/Book_Currents_331.jpg 240w, https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_320,c_limit/Book_Currents_331.jpg 320w, https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_640,c_limit/Book_Currents_331.jpg 640w, https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_960,c_limit/Book_Currents_331.jpg 960w, https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_1280,c_limit/Book_Currents_331.jpg 1280w, https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_1600,c_limit/Book_Currents_331.jpg 1600w" sizes="100vw"/><img alt="Fredrik Backman on the Art of Scandinavian Storytelling" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_1600%2Cc_limit/Book_Currents_331.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/fredrik-backman-on-the-art-of-scandinavian-storytelling" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Fredrik Backman on the Art of Scandinavian Storytelling</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/fredrik-backman-on-the-art-of-scandinavian-storytelling" 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/67eada603134bb0fed4f30a9/4:3/w_120,c_limit/Book_Currents_331.jpg 120w, https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_240,c_limit/Book_Currents_331.jpg 240w, https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_320,c_limit/Book_Currents_331.jpg 320w, https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_640,c_limit/Book_Currents_331.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_120,c_limit/Book_Currents_331.jpg 120w, https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_240,c_limit/Book_Currents_331.jpg 240w, https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_320,c_limit/Book_Currents_331.jpg 320w, https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_640,c_limit/Book_Currents_331.jpg 640w, https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_960,c_limit/Book_Currents_331.jpg 960w, https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_1280,c_limit/Book_Currents_331.jpg 1280w, https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_1600,c_limit/Book_Currents_331.jpg 1600w" sizes="100vw"/><img alt="Fredrik Backman on the Art of Scandinavian Storytelling" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67eada603134bb0fed4f30a9/4:3/w_1600%2Cc_limit/Book_Currents_331.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The best-selling author of “A Man Called Ove,” “Anxious People,” and the “Beartown” trilogy highlights four novels from his native Sweden that are making their English débuts this year.</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":"Li’l Kayla Endures It All","id":"67e2c3244a482696395ee385","index":2,"contentType":"venue","hotelLink":"/books/page-turner/lil-kayla-endures-it-all","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/lil-kayla-endures-it-all" 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/67e3185cc74e4003c92391b2/4:3/w_120,c_limit/Precious%20Rubbish_16x9.jpg 120w, https://media.newyorker.com/photos/67e3185cc74e4003c92391b2/4:3/w_240,c_limit/Precious%20Rubbish_16x9.jpg 240w, https://media.newyorker.com/photos/67e3185cc74e4003c92391b2/4:3/w_320,c_limit/Precious%20Rubbish_16x9.jpg 320w, https://media.newyorker.com/photos/67e3185cc74e4003c92391b2/4:3/w_640,c_limit/Precious%20Rubbish_16x9.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" 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src="https://media.newyorker.com/photos/67e3185cc74e4003c92391b2/4:3/w_1600%2Cc_limit/Precious%2520Rubbish_16x9.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/lil-kayla-endures-it-all" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Li’l Kayla Endures It All</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/lil-kayla-endures-it-all" 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/67e3185cc74e4003c92391b2/4:3/w_120,c_limit/Precious%20Rubbish_16x9.jpg 120w, https://media.newyorker.com/photos/67e3185cc74e4003c92391b2/4:3/w_240,c_limit/Precious%20Rubbish_16x9.jpg 240w, https://media.newyorker.com/photos/67e3185cc74e4003c92391b2/4:3/w_320,c_limit/Precious%20Rubbish_16x9.jpg 320w, https://media.newyorker.com/photos/67e3185cc74e4003c92391b2/4:3/w_640,c_limit/Precious%20Rubbish_16x9.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67e3185cc74e4003c92391b2/4:3/w_120,c_limit/Precious%20Rubbish_16x9.jpg 120w, https://media.newyorker.com/photos/67e3185cc74e4003c92391b2/4:3/w_240,c_limit/Precious%20Rubbish_16x9.jpg 240w, https://media.newyorker.com/photos/67e3185cc74e4003c92391b2/4:3/w_320,c_limit/Precious%20Rubbish_16x9.jpg 320w, https://media.newyorker.com/photos/67e3185cc74e4003c92391b2/4:3/w_640,c_limit/Precious%20Rubbish_16x9.jpg 640w, https://media.newyorker.com/photos/67e3185cc74e4003c92391b2/4:3/w_960,c_limit/Precious%20Rubbish_16x9.jpg 960w, https://media.newyorker.com/photos/67e3185cc74e4003c92391b2/4:3/w_1280,c_limit/Precious%20Rubbish_16x9.jpg 1280w, https://media.newyorker.com/photos/67e3185cc74e4003c92391b2/4:3/w_1600,c_limit/Precious%20Rubbish_16x9.jpg 1600w" sizes="100vw"/><img alt="Li’l Kayla Endures It All" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e3185cc74e4003c92391b2/4:3/w_1600%2Cc_limit/Precious%2520Rubbish_16x9.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">A young Texas girl who loves solitude and honey buns navigates a cruel and indifferent 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">Art by </span>Kayla E.</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":"Briefly Noted","id":"67e2cbd8ea48c73bef61b436","index":3,"contentType":"venue","hotelLink":"/magazine/2025/04/07/taking-manhattan-mornings-without-mii-goddess-complex-and-death-takes-me","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/2025/04/07/taking-manhattan-mornings-without-mii-goddess-complex-and-death-takes-me" 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/67e1b96226f34445c5866517/4:3/w_120,c_limit/r45818web-tout.jpg 120w, https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_240,c_limit/r45818web-tout.jpg 240w, https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_320,c_limit/r45818web-tout.jpg 320w, https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_640,c_limit/r45818web-tout.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_120,c_limit/r45818web-tout.jpg 120w, https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_240,c_limit/r45818web-tout.jpg 240w, https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_320,c_limit/r45818web-tout.jpg 320w, https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_640,c_limit/r45818web-tout.jpg 640w, https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_960,c_limit/r45818web-tout.jpg 960w, https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_1280,c_limit/r45818web-tout.jpg 1280w, https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_1600,c_limit/r45818web-tout.jpg 1600w" sizes="100vw"/><img alt="Briefly Noted" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_1600%2Cc_limit/r45818web-tout.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">Books</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/2025/04/07/taking-manhattan-mornings-without-mii-goddess-complex-and-death-takes-me" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Briefly Noted</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/2025/04/07/taking-manhattan-mornings-without-mii-goddess-complex-and-death-takes-me" 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/67e1b96226f34445c5866517/4:3/w_120,c_limit/r45818web-tout.jpg 120w, https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_240,c_limit/r45818web-tout.jpg 240w, https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_320,c_limit/r45818web-tout.jpg 320w, https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_640,c_limit/r45818web-tout.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_120,c_limit/r45818web-tout.jpg 120w, https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_240,c_limit/r45818web-tout.jpg 240w, https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_320,c_limit/r45818web-tout.jpg 320w, https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_640,c_limit/r45818web-tout.jpg 640w, https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_960,c_limit/r45818web-tout.jpg 960w, https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_1280,c_limit/r45818web-tout.jpg 1280w, https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_1600,c_limit/r45818web-tout.jpg 1600w" sizes="100vw"/><img alt="Briefly Noted" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e1b96226f34445c5866517/4:3/w_1600%2Cc_limit/r45818web-tout.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">“Taking Manhattan,” “Mornings Without Mii,” “Goddess Complex,” and “Death Takes Me.”</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="flkni"></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="ce6q0b"></div></div></div><div data-testid="RowWrapper" id="movies" 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">Movies</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 Dreamlike Journeys of “Việt and Nam” and “Grand Tour”","id":"67e4114920f557f8474060eb","index":0,"contentType":"venue","hotelLink":"/culture/the-current-cinema/the-dreamlike-journeys-of-vit-and-nam-and-grand-tour","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-current-cinema/the-dreamlike-journeys-of-vit-and-nam-and-grand-tour" 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/67e413b1d84d8351dea0b113/4:3/w_120,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 120w, https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_240,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 240w, https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_320,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 320w, https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_640,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_120,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 120w, https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_240,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 240w, https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_320,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 320w, https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_640,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 640w, https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_960,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 960w, https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_1280,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 1280w, https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_1600,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 1600w" sizes="100vw"/><img alt="The Dreamlike Journeys of “Việt and Nam” and “Grand Tour”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_1600%2Cc_limit/Chang-Vie%25CC%25A3%25CC%2582t-and-Nam.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 Current Cinema</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-current-cinema/the-dreamlike-journeys-of-vit-and-nam-and-grand-tour" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Dreamlike Journeys of “Việt and Nam” and “Grand Tour”</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-current-cinema/the-dreamlike-journeys-of-vit-and-nam-and-grand-tour" 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/67e413b1d84d8351dea0b113/4:3/w_120,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 120w, https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_240,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 240w, https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_320,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 320w, https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_640,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_120,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 120w, https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_240,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 240w, https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_320,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 320w, https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_640,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 640w, https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_960,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 960w, https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_1280,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 1280w, https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_1600,c_limit/Chang-Vie%CC%A3%CC%82t-and-Nam.jpg 1600w" sizes="100vw"/><img alt="The Dreamlike Journeys of “Việt and Nam” and “Grand Tour”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e413b1d84d8351dea0b113/4:3/w_1600%2Cc_limit/Chang-Vie%25CC%25A3%25CC%2582t-and-Nam.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Two new dramas—from the Vietnamese director Truong Minh Quy, and from the Portuguese director Miguel Gomes—embark on hypnotic, mind-bending treks between past and present.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Justin Chang</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff 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":"“Fiume o Morte!” Brilliantly Dramatizes the Rise of a Demagogue","id":"67eac7eed0d8be3e7b44172c","index":1,"contentType":"venue","hotelLink":"/culture/the-front-row/fiume-o-morte-brilliantly-dramatizes-the-rise-of-a-demagogue","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/fiume-o-morte-brilliantly-dramatizes-the-rise-of-a-demagogue" 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/67eac845d06e2cf5a4f19545/4:3/w_120,c_limit/Brody-FOM.jpg 120w, https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_240,c_limit/Brody-FOM.jpg 240w, https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_320,c_limit/Brody-FOM.jpg 320w, https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_640,c_limit/Brody-FOM.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_120,c_limit/Brody-FOM.jpg 120w, https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_240,c_limit/Brody-FOM.jpg 240w, https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_320,c_limit/Brody-FOM.jpg 320w, https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_640,c_limit/Brody-FOM.jpg 640w, https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_960,c_limit/Brody-FOM.jpg 960w, https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_1280,c_limit/Brody-FOM.jpg 1280w, https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_1600,c_limit/Brody-FOM.jpg 1600w" sizes="100vw"/><img alt="“Fiume o Morte!” Brilliantly Dramatizes the Rise of a Demagogue" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_1600%2Cc_limit/Brody-FOM.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/fiume-o-morte-brilliantly-dramatizes-the-rise-of-a-demagogue" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">“Fiume o Morte!” Brilliantly Dramatizes the Rise of a Demagogue</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/fiume-o-morte-brilliantly-dramatizes-the-rise-of-a-demagogue" 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/67eac845d06e2cf5a4f19545/4:3/w_120,c_limit/Brody-FOM.jpg 120w, https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_240,c_limit/Brody-FOM.jpg 240w, https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_320,c_limit/Brody-FOM.jpg 320w, https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_640,c_limit/Brody-FOM.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_120,c_limit/Brody-FOM.jpg 120w, https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_240,c_limit/Brody-FOM.jpg 240w, https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_320,c_limit/Brody-FOM.jpg 320w, https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_640,c_limit/Brody-FOM.jpg 640w, https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_960,c_limit/Brody-FOM.jpg 960w, https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_1280,c_limit/Brody-FOM.jpg 1280w, https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_1600,c_limit/Brody-FOM.jpg 1600w" sizes="100vw"/><img alt="“Fiume o Morte!” Brilliantly Dramatizes the Rise of a Demagogue" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67eac845d06e2cf5a4f19545/4:3/w_1600%2Cc_limit/Brody-FOM.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Igor Bezinović’s film thrusts century-old archival footage into the present, restaging the brazen reign of an autocrat whose tactics feel startlingly resonant today.</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":"The Cinematic Glories of Manoel de Oliveira’s Endless Youth","id":"67e17d3447723a6cebedd49a","index":2,"contentType":"venue","hotelLink":"/culture/the-front-row/the-cinematic-glories-of-manoel-de-oliveiras-endless-youth","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-cinematic-glories-of-manoel-de-oliveiras-endless-youth" 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/67e1d00434a0bc8b979abca6/4:3/w_120,c_limit/Brody_ManueldeOliveira.jpg 120w, https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_240,c_limit/Brody_ManueldeOliveira.jpg 240w, https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_320,c_limit/Brody_ManueldeOliveira.jpg 320w, https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_640,c_limit/Brody_ManueldeOliveira.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_120,c_limit/Brody_ManueldeOliveira.jpg 120w, https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_240,c_limit/Brody_ManueldeOliveira.jpg 240w, https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_320,c_limit/Brody_ManueldeOliveira.jpg 320w, https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_640,c_limit/Brody_ManueldeOliveira.jpg 640w, https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_960,c_limit/Brody_ManueldeOliveira.jpg 960w, https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_1280,c_limit/Brody_ManueldeOliveira.jpg 1280w, https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_1600,c_limit/Brody_ManueldeOliveira.jpg 1600w" sizes="100vw"/><img alt="The Cinematic Glories of Manoel de Oliveira’s Endless Youth" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_1600%2Cc_limit/Brody_ManueldeOliveira.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-cinematic-glories-of-manoel-de-oliveiras-endless-youth" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Cinematic Glories of Manoel de Oliveira’s Endless Youth</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-cinematic-glories-of-manoel-de-oliveiras-endless-youth" 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/67e1d00434a0bc8b979abca6/4:3/w_120,c_limit/Brody_ManueldeOliveira.jpg 120w, https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_240,c_limit/Brody_ManueldeOliveira.jpg 240w, https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_320,c_limit/Brody_ManueldeOliveira.jpg 320w, https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_640,c_limit/Brody_ManueldeOliveira.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_120,c_limit/Brody_ManueldeOliveira.jpg 120w, https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_240,c_limit/Brody_ManueldeOliveira.jpg 240w, https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_320,c_limit/Brody_ManueldeOliveira.jpg 320w, https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_640,c_limit/Brody_ManueldeOliveira.jpg 640w, https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_960,c_limit/Brody_ManueldeOliveira.jpg 960w, https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_1280,c_limit/Brody_ManueldeOliveira.jpg 1280w, https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_1600,c_limit/Brody_ManueldeOliveira.jpg 1600w" sizes="100vw"/><img alt="The Cinematic Glories of Manoel de Oliveira’s Endless Youth" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e1d00434a0bc8b979abca6/4:3/w_1600%2Cc_limit/Brody_ManueldeOliveira.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The Portuguese director, who made twenty-two features after the age of eighty, rejuvenated the art of movies by linking personal experience to the arc of history.</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":"Disney’s “Snow White” Remake Whistles But Doesn’t Work","id":"67db295d5770ea2a836f4835","index":3,"contentType":"venue","hotelLink":"/culture/the-current-cinema/disneys-snow-white-remake-whistles-but-doesnt-work","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-current-cinema/disneys-snow-white-remake-whistles-but-doesnt-work" 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/67dd7dd24ae25e3820c0d8c8/4:3/w_120,c_limit/Chang_SnowWhite.jpg 120w, https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_240,c_limit/Chang_SnowWhite.jpg 240w, https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_320,c_limit/Chang_SnowWhite.jpg 320w, https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_640,c_limit/Chang_SnowWhite.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_120,c_limit/Chang_SnowWhite.jpg 120w, https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_240,c_limit/Chang_SnowWhite.jpg 240w, https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_320,c_limit/Chang_SnowWhite.jpg 320w, https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_640,c_limit/Chang_SnowWhite.jpg 640w, https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_960,c_limit/Chang_SnowWhite.jpg 960w, https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_1280,c_limit/Chang_SnowWhite.jpg 1280w, https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_1600,c_limit/Chang_SnowWhite.jpg 1600w" sizes="100vw"/><img alt="Disney’s “Snow White” Remake Whistles But Doesn’t Work" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_1600%2Cc_limit/Chang_SnowWhite.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 Current Cinema</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-current-cinema/disneys-snow-white-remake-whistles-but-doesnt-work" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Disney’s “Snow White” Remake Whistles But Doesn’t Work</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-current-cinema/disneys-snow-white-remake-whistles-but-doesnt-work" 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/67dd7dd24ae25e3820c0d8c8/4:3/w_120,c_limit/Chang_SnowWhite.jpg 120w, https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_240,c_limit/Chang_SnowWhite.jpg 240w, https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_320,c_limit/Chang_SnowWhite.jpg 320w, https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_640,c_limit/Chang_SnowWhite.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_120,c_limit/Chang_SnowWhite.jpg 120w, https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_240,c_limit/Chang_SnowWhite.jpg 240w, https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_320,c_limit/Chang_SnowWhite.jpg 320w, https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_640,c_limit/Chang_SnowWhite.jpg 640w, https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_960,c_limit/Chang_SnowWhite.jpg 960w, https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_1280,c_limit/Chang_SnowWhite.jpg 1280w, https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_1600,c_limit/Chang_SnowWhite.jpg 1600w" sizes="100vw"/><img alt="Disney’s “Snow White” Remake Whistles But Doesn’t Work" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67dd7dd24ae25e3820c0d8c8/4:3/w_1600%2Cc_limit/Chang_SnowWhite.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Loathed even before its release, the latest live-action version of an animated classic embodies many of the cynical moves of the remake racket.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Justin Chang</span></span></span></div></div></div></div></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryCollectionGridSummaryItem-WColm gyTvwi ad ad--read-more"><div class="ad__slot ad__slot--read-more" data-node-id="gdrd7s"></div></div></div><div class="SummaryCollectionGridToActionWrapper-gnReGN eGayfk"></div></div></div></div></div></div><div data-testid="RowWrapper" id="food" 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">Food</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":"Crevette Makes Great Seafood Look Easy","id":"67e2ffccc74e4003c923911c","index":0,"contentType":"venue","hotelLink":"/culture/the-food-scene/crevette-makes-great-seafood-look-easy","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/crevette-makes-great-seafood-look-easy" 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/67e40c3aab0f4d1cca817296/4:3/w_120,c_limit/20250307_TNY_Crevette0287.jpg 120w, https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_240,c_limit/20250307_TNY_Crevette0287.jpg 240w, https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_320,c_limit/20250307_TNY_Crevette0287.jpg 320w, https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_640,c_limit/20250307_TNY_Crevette0287.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_120,c_limit/20250307_TNY_Crevette0287.jpg 120w, https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_240,c_limit/20250307_TNY_Crevette0287.jpg 240w, https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_320,c_limit/20250307_TNY_Crevette0287.jpg 320w, https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_640,c_limit/20250307_TNY_Crevette0287.jpg 640w, https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_960,c_limit/20250307_TNY_Crevette0287.jpg 960w, https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_1280,c_limit/20250307_TNY_Crevette0287.jpg 1280w, https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_1600,c_limit/20250307_TNY_Crevette0287.jpg 1600w" sizes="100vw"/><img alt="Crevette Makes Great Seafood Look Easy" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_1600%2Cc_limit/20250307_TNY_Crevette0287.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/crevette-makes-great-seafood-look-easy" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Crevette Makes Great Seafood Look Easy</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/crevette-makes-great-seafood-look-easy" 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/67e40c3aab0f4d1cca817296/4:3/w_120,c_limit/20250307_TNY_Crevette0287.jpg 120w, https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_240,c_limit/20250307_TNY_Crevette0287.jpg 240w, https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_320,c_limit/20250307_TNY_Crevette0287.jpg 320w, https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_640,c_limit/20250307_TNY_Crevette0287.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_120,c_limit/20250307_TNY_Crevette0287.jpg 120w, https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_240,c_limit/20250307_TNY_Crevette0287.jpg 240w, https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_320,c_limit/20250307_TNY_Crevette0287.jpg 320w, https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_640,c_limit/20250307_TNY_Crevette0287.jpg 640w, https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_960,c_limit/20250307_TNY_Crevette0287.jpg 960w, https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_1280,c_limit/20250307_TNY_Crevette0287.jpg 1280w, https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_1600,c_limit/20250307_TNY_Crevette0287.jpg 1600w" sizes="100vw"/><img alt="Crevette Makes Great Seafood Look Easy" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e40c3aab0f4d1cca817296/4:3/w_1600%2Cc_limit/20250307_TNY_Crevette0287.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">A new restaurant from the team behind Dame and Lord’s doesn’t so much enter the seafood conversation as elegantly commandeer it.</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":"The Quintessentially American Story of Indian Pizza","id":"67dac39ffabffbe7da67bbdd","index":1,"contentType":"venue","hotelLink":"/magazine/2025/03/31/the-quintessentially-american-story-of-indian-pizza","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/the-quintessentially-american-story-of-indian-pizza" 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/67db23066356ed23ae6251e1/4:3/w_120,c_limit/r45781web-site.jpg 120w, https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_240,c_limit/r45781web-site.jpg 240w, https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_320,c_limit/r45781web-site.jpg 320w, https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_640,c_limit/r45781web-site.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_120,c_limit/r45781web-site.jpg 120w, https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_240,c_limit/r45781web-site.jpg 240w, https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_320,c_limit/r45781web-site.jpg 320w, https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_640,c_limit/r45781web-site.jpg 640w, https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_960,c_limit/r45781web-site.jpg 960w, https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_1280,c_limit/r45781web-site.jpg 1280w, https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_1600,c_limit/r45781web-site.jpg 1600w" sizes="100vw"/><img alt="The Quintessentially American Story of Indian Pizza" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_1600%2Cc_limit/r45781web-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/2025/03/31/the-quintessentially-american-story-of-indian-pizza" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Quintessentially American Story of Indian Pizza</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/the-quintessentially-american-story-of-indian-pizza" 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/67db23066356ed23ae6251e1/4:3/w_120,c_limit/r45781web-site.jpg 120w, https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_240,c_limit/r45781web-site.jpg 240w, https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_320,c_limit/r45781web-site.jpg 320w, https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_640,c_limit/r45781web-site.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_120,c_limit/r45781web-site.jpg 120w, https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_240,c_limit/r45781web-site.jpg 240w, https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_320,c_limit/r45781web-site.jpg 320w, https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_640,c_limit/r45781web-site.jpg 640w, https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_960,c_limit/r45781web-site.jpg 960w, https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_1280,c_limit/r45781web-site.jpg 1280w, https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_1600,c_limit/r45781web-site.jpg 1600w" sizes="100vw"/><img alt="The Quintessentially American Story of Indian Pizza" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67db23066356ed23ae6251e1/4:3/w_1600%2Cc_limit/r45781web-site.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">In the eighties, a Punjabi immigrant bought an old Italian restaurant in San Francisco. The dish he pioneered became a phenomenon.</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":"Helen, Help Me: Should I Be Cooking with Ostrich Eggs?","id":"67d05a01406815e8f77f2453","index":2,"contentType":"venue","hotelLink":"/culture/the-food-scene/helen-help-me-should-i-be-cooking-with-ostrich-eggs","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/helen-help-me-should-i-be-cooking-with-ostrich-eggs" 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/67d05a184b471e7eb91734e8/4:3/w_120,c_limit/Eggs-Rosner-HelpMe.jpg 120w, https://media.newyorker.com/photos/67d05a184b471e7eb91734e8/4:3/w_240,c_limit/Eggs-Rosner-HelpMe.jpg 240w, https://media.newyorker.com/photos/67d05a184b471e7eb91734e8/4:3/w_320,c_limit/Eggs-Rosner-HelpMe.jpg 320w, https://media.newyorker.com/photos/67d05a184b471e7eb91734e8/4:3/w_640,c_limit/Eggs-Rosner-HelpMe.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67d05a184b471e7eb91734e8/4:3/w_120,c_limit/Eggs-Rosner-HelpMe.jpg 120w, 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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/helen-help-me-should-i-be-cooking-with-ostrich-eggs" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Helen, Help Me: Should I Be Cooking with Ostrich Eggs?</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/helen-help-me-should-i-be-cooking-with-ostrich-eggs" 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/67d05a184b471e7eb91734e8/4:3/w_120,c_limit/Eggs-Rosner-HelpMe.jpg 120w, https://media.newyorker.com/photos/67d05a184b471e7eb91734e8/4:3/w_240,c_limit/Eggs-Rosner-HelpMe.jpg 240w, https://media.newyorker.com/photos/67d05a184b471e7eb91734e8/4:3/w_320,c_limit/Eggs-Rosner-HelpMe.jpg 320w, https://media.newyorker.com/photos/67d05a184b471e7eb91734e8/4:3/w_640,c_limit/Eggs-Rosner-HelpMe.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67d05a184b471e7eb91734e8/4:3/w_120,c_limit/Eggs-Rosner-HelpMe.jpg 120w, https://media.newyorker.com/photos/67d05a184b471e7eb91734e8/4:3/w_240,c_limit/Eggs-Rosner-HelpMe.jpg 240w, https://media.newyorker.com/photos/67d05a184b471e7eb91734e8/4:3/w_320,c_limit/Eggs-Rosner-HelpMe.jpg 320w, https://media.newyorker.com/photos/67d05a184b471e7eb91734e8/4:3/w_640,c_limit/Eggs-Rosner-HelpMe.jpg 640w, https://media.newyorker.com/photos/67d05a184b471e7eb91734e8/4:3/w_960,c_limit/Eggs-Rosner-HelpMe.jpg 960w, https://media.newyorker.com/photos/67d05a184b471e7eb91734e8/4:3/w_1280,c_limit/Eggs-Rosner-HelpMe.jpg 1280w, https://media.newyorker.com/photos/67d05a184b471e7eb91734e8/4:3/w_1600,c_limit/Eggs-Rosner-HelpMe.jpg 1600w" sizes="100vw"/><img alt="Helen, Help Me: Should I Be Cooking with Ostrich Eggs?" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d05a184b471e7eb91734e8/4:3/w_1600%2Cc_limit/Eggs-Rosner-HelpMe.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Our food critic answers a reader’s question about alternatives to the beleaguered chicken egg.</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":"La Tête d’Or and the Revenge of the American Steak House","id":"67d1a1426e4632ef3b5316d8","index":3,"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 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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="AdWrapper-dQtivb fZrssQ SummaryCollectionGridSummaryItem-WColm gyTvwi ad ad--read-more"><div class="ad__slot ad__slot--read-more" data-node-id="xvuic7"></div></div></div><div class="SummaryCollectionGridToActionWrapper-gnReGN eGayfk"></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 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="6579d3539d07d3be7e8da6c7" 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-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="m0zli"></div></div></div><div data-testid="RowWrapper" id="6579cb3034dddc6ac651a13c" 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 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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"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67e6e69b1d268b68892bd8bf/4:3/w_120,c_limit/Schulman-Jeff-Bridges.jpg 120w, https://media.newyorker.com/photos/67e6e69b1d268b68892bd8bf/4:3/w_240,c_limit/Schulman-Jeff-Bridges.jpg 240w, https://media.newyorker.com/photos/67e6e69b1d268b68892bd8bf/4:3/w_320,c_limit/Schulman-Jeff-Bridges.jpg 320w, 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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">Photo Booth</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/photo-booth/an-ingenues-intimate-snapshots-of-the-new-hollywood" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ kTTbYw summary-item__hed" data-testid="SummaryItemHed">An Ingénue’s Intimate Snapshots of the New Hollywood</h3></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Candy Clark’s Polaroid closeups of familiar faces—Steven Spielberg, Carrie Fisher, Jeff Bridges—evoke a looser, more freewheeling time in show business.</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>Michael Schulman</span></span></span></div></div></div></div></div></div></div></div></div><div data-testid="RowWrapper" id="television" 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">Television</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":"A British Detective Comedy About a Reclusive Puzzle-Maker","id":"67d4683621162af8c5b047c5","index":0,"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":"Mister Lonely, the New TV Hero","id":"67d03f21e8a8e558b2f9de87","index":1,"contentType":"venue","hotelLink":"/culture/on-television/mister-lonely-the-new-tv-hero","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/mister-lonely-the-new-tv-hero" 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/67d4398b0e51989b06f0190d/4:3/w_120,c_limit/Widower-re.jpg 120w, https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_240,c_limit/Widower-re.jpg 240w, https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_320,c_limit/Widower-re.jpg 320w, https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_640,c_limit/Widower-re.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_120,c_limit/Widower-re.jpg 120w, https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_240,c_limit/Widower-re.jpg 240w, https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_320,c_limit/Widower-re.jpg 320w, https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_640,c_limit/Widower-re.jpg 640w, https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_960,c_limit/Widower-re.jpg 960w, https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_1280,c_limit/Widower-re.jpg 1280w, https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_1600,c_limit/Widower-re.jpg 1600w" sizes="100vw"/><img alt="Mister Lonely, the New TV Hero" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_1600%2Cc_limit/Widower-re.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/mister-lonely-the-new-tv-hero" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Mister Lonely, the New TV Hero</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/mister-lonely-the-new-tv-hero" 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/67d4398b0e51989b06f0190d/4:3/w_120,c_limit/Widower-re.jpg 120w, https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_240,c_limit/Widower-re.jpg 240w, https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_320,c_limit/Widower-re.jpg 320w, https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_640,c_limit/Widower-re.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_120,c_limit/Widower-re.jpg 120w, https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_240,c_limit/Widower-re.jpg 240w, https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_320,c_limit/Widower-re.jpg 320w, https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_640,c_limit/Widower-re.jpg 640w, https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_960,c_limit/Widower-re.jpg 960w, https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_1280,c_limit/Widower-re.jpg 1280w, https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_1600,c_limit/Widower-re.jpg 1600w" sizes="100vw"/><img alt="Mister Lonely, the New TV Hero" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d4398b0e51989b06f0190d/4:3/w_1600%2Cc_limit/Widower-re.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Widowers drive the plots of “Paradise,” “Severance,” and “American Primeval,” to poignant effect.</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>Vinson Cunningham</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 Parental Panic of “Adolescence”","id":"67d310d9ccde99da99440049","index":2,"contentType":"venue","hotelLink":"/culture/on-television/the-parental-panic-of-adolescence","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/the-parental-panic-of-adolescence" 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/67d312d1f24059818bdaeb0c/4:3/w_120,c_limit/Kang-Adolescence.jpg 120w, https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_240,c_limit/Kang-Adolescence.jpg 240w, https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_320,c_limit/Kang-Adolescence.jpg 320w, https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_640,c_limit/Kang-Adolescence.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_120,c_limit/Kang-Adolescence.jpg 120w, https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_240,c_limit/Kang-Adolescence.jpg 240w, https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_320,c_limit/Kang-Adolescence.jpg 320w, https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_640,c_limit/Kang-Adolescence.jpg 640w, https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_960,c_limit/Kang-Adolescence.jpg 960w, https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_1280,c_limit/Kang-Adolescence.jpg 1280w, https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_1600,c_limit/Kang-Adolescence.jpg 1600w" sizes="100vw"/><img alt="The Parental Panic of “Adolescence”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_1600%2Cc_limit/Kang-Adolescence.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/the-parental-panic-of-adolescence" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Parental Panic of “Adolescence”</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/the-parental-panic-of-adolescence" 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/67d312d1f24059818bdaeb0c/4:3/w_120,c_limit/Kang-Adolescence.jpg 120w, https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_240,c_limit/Kang-Adolescence.jpg 240w, https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_320,c_limit/Kang-Adolescence.jpg 320w, https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_640,c_limit/Kang-Adolescence.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_120,c_limit/Kang-Adolescence.jpg 120w, https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_240,c_limit/Kang-Adolescence.jpg 240w, https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_320,c_limit/Kang-Adolescence.jpg 320w, https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_640,c_limit/Kang-Adolescence.jpg 640w, https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_960,c_limit/Kang-Adolescence.jpg 960w, https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_1280,c_limit/Kang-Adolescence.jpg 1280w, https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_1600,c_limit/Kang-Adolescence.jpg 1600w" sizes="100vw"/><img alt="The Parental Panic of “Adolescence”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67d312d1f24059818bdaeb0c/4:3/w_1600%2Cc_limit/Kang-Adolescence.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The Netflix series, about a thirteen-year-old killer, attempts to grapple with the crisis facing boys today—but its true sympathies lie with the baffled adults around them.</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>Inkoo Kang</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":"How “Severance” Makes a Fetish of the Office","id":"67c61dd91d78f83417ac89fe","index":3,"contentType":"venue","hotelLink":"/culture/on-television/how-severance-makes-a-fetish-of-the-office","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/how-severance-makes-a-fetish-of-the-office" 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/67c8a7ee52562ac5b152615e/4:3/w_120,c_limit/Severance_Photo_020316.jpg 120w, https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_240,c_limit/Severance_Photo_020316.jpg 240w, https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_320,c_limit/Severance_Photo_020316.jpg 320w, https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_640,c_limit/Severance_Photo_020316.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_120,c_limit/Severance_Photo_020316.jpg 120w, https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_240,c_limit/Severance_Photo_020316.jpg 240w, https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_320,c_limit/Severance_Photo_020316.jpg 320w, https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_640,c_limit/Severance_Photo_020316.jpg 640w, https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_960,c_limit/Severance_Photo_020316.jpg 960w, https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_1280,c_limit/Severance_Photo_020316.jpg 1280w, https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_1600,c_limit/Severance_Photo_020316.jpg 1600w" sizes="100vw"/><img alt="How “Severance” Makes a Fetish of the Office" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_1600%2Cc_limit/Severance_Photo_020316.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/how-severance-makes-a-fetish-of-the-office" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">How “Severance” Makes a Fetish of the Office</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/how-severance-makes-a-fetish-of-the-office" 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/67c8a7ee52562ac5b152615e/4:3/w_120,c_limit/Severance_Photo_020316.jpg 120w, https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_240,c_limit/Severance_Photo_020316.jpg 240w, https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_320,c_limit/Severance_Photo_020316.jpg 320w, https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_640,c_limit/Severance_Photo_020316.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_120,c_limit/Severance_Photo_020316.jpg 120w, https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_240,c_limit/Severance_Photo_020316.jpg 240w, https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_320,c_limit/Severance_Photo_020316.jpg 320w, https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_640,c_limit/Severance_Photo_020316.jpg 640w, https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_960,c_limit/Severance_Photo_020316.jpg 960w, https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_1280,c_limit/Severance_Photo_020316.jpg 1280w, https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_1600,c_limit/Severance_Photo_020316.jpg 1600w" sizes="100vw"/><img alt="How “Severance” Makes a Fetish of the Office" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67c8a7ee52562ac5b152615e/4:3/w_1600%2Cc_limit/Severance_Photo_020316.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">In its second season, the show continues to indict the corporate workplace while secretly longing for it.</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>Katy Waldman</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="yb321"></div></div></div><div class="SummaryCollectionGridToActionWrapper-gnReGN eGayfk"></div></div></div></div></div></div><div data-testid="RowWrapper" id="the-theatre" 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">The Theatre</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 Play Where Everyone Keeps Fainting","id":"67ec1719a3893af6426b797a","index":0,"contentType":"venue","hotelLink":"/culture/drinks-with-the-new-yorker/the-play-where-everyone-keeps-fainting","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/drinks-with-the-new-yorker/the-play-where-everyone-keeps-fainting" 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/67eee447d692c872b0a61360/4:3/w_120,c_limit/Theatre%20fainting_FINAL.jpg 120w, https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_240,c_limit/Theatre%20fainting_FINAL.jpg 240w, https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_320,c_limit/Theatre%20fainting_FINAL.jpg 320w, https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_640,c_limit/Theatre%20fainting_FINAL.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_120,c_limit/Theatre%20fainting_FINAL.jpg 120w, https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_240,c_limit/Theatre%20fainting_FINAL.jpg 240w, https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_320,c_limit/Theatre%20fainting_FINAL.jpg 320w, https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_640,c_limit/Theatre%20fainting_FINAL.jpg 640w, https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_960,c_limit/Theatre%20fainting_FINAL.jpg 960w, https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_1280,c_limit/Theatre%20fainting_FINAL.jpg 1280w, https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_1600,c_limit/Theatre%20fainting_FINAL.jpg 1600w" sizes="100vw"/><img alt="The Play Where Everyone Keeps Fainting" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_1600%2Cc_limit/Theatre%2520fainting_FINAL.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">Drinks with The New Yorker</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/drinks-with-the-new-yorker/the-play-where-everyone-keeps-fainting" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Play Where Everyone Keeps Fainting</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/drinks-with-the-new-yorker/the-play-where-everyone-keeps-fainting" 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/67eee447d692c872b0a61360/4:3/w_120,c_limit/Theatre%20fainting_FINAL.jpg 120w, https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_240,c_limit/Theatre%20fainting_FINAL.jpg 240w, https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_320,c_limit/Theatre%20fainting_FINAL.jpg 320w, https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_640,c_limit/Theatre%20fainting_FINAL.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_120,c_limit/Theatre%20fainting_FINAL.jpg 120w, https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_240,c_limit/Theatre%20fainting_FINAL.jpg 240w, https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_320,c_limit/Theatre%20fainting_FINAL.jpg 320w, https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_640,c_limit/Theatre%20fainting_FINAL.jpg 640w, https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_960,c_limit/Theatre%20fainting_FINAL.jpg 960w, https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_1280,c_limit/Theatre%20fainting_FINAL.jpg 1280w, https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_1600,c_limit/Theatre%20fainting_FINAL.jpg 1600w" sizes="100vw"/><img alt="The Play Where Everyone Keeps Fainting" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67eee447d692c872b0a61360/4:3/w_1600%2Cc_limit/Theatre%2520fainting_FINAL.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Dozens of audience members have lost consciousness watching Eline Arbo’s adaptation of “The Years.” The internet has come to believe that a conspiracy is afoot.</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>Anna Russell</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":"Retro Masculinity in “Glengarry Glen Ross” and “Good Night, and Good Luck”","id":"67ebe7eba3893af6426b7979","index":1,"contentType":"venue","hotelLink":"/magazine/2025/04/14/glengarry-glen-ross-good-night-and-good-luck-theatre-review-broadway","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/2025/04/14/glengarry-glen-ross-good-night-and-good-luck-theatre-review-broadway" 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/67ed64496198c49bd75d2668/4:3/w_120,c_limit/r45852.jpg 120w, https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_240,c_limit/r45852.jpg 240w, https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_320,c_limit/r45852.jpg 320w, https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_640,c_limit/r45852.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_120,c_limit/r45852.jpg 120w, https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_240,c_limit/r45852.jpg 240w, https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_320,c_limit/r45852.jpg 320w, https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_640,c_limit/r45852.jpg 640w, https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_960,c_limit/r45852.jpg 960w, https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_1280,c_limit/r45852.jpg 1280w, https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_1600,c_limit/r45852.jpg 1600w" sizes="100vw"/><img alt="Retro Masculinity in “Glengarry Glen Ross” and “Good Night, and Good Luck”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_1600%2Cc_limit/r45852.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 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/2025/04/14/glengarry-glen-ross-good-night-and-good-luck-theatre-review-broadway" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Retro Masculinity in “Glengarry Glen Ross” and “Good Night, and Good Luck”</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/2025/04/14/glengarry-glen-ross-good-night-and-good-luck-theatre-review-broadway" 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/67ed64496198c49bd75d2668/4:3/w_120,c_limit/r45852.jpg 120w, https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_240,c_limit/r45852.jpg 240w, https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_320,c_limit/r45852.jpg 320w, https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_640,c_limit/r45852.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_120,c_limit/r45852.jpg 120w, https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_240,c_limit/r45852.jpg 240w, https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_320,c_limit/r45852.jpg 320w, https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_640,c_limit/r45852.jpg 640w, https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_960,c_limit/r45852.jpg 960w, https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_1280,c_limit/r45852.jpg 1280w, https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_1600,c_limit/r45852.jpg 1600w" sizes="100vw"/><img alt="Retro Masculinity in “Glengarry Glen Ross” and “Good Night, and Good Luck”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ed64496198c49bd75d2668/4:3/w_1600%2Cc_limit/r45852.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Kieran Culkin and Bob Odenkirk try to close the deal in David Mamet’s classic, and George Clooney stars in a timely portrait of media courage.</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="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":"When Marvel Meets “Much Ado About Nothing”","id":"67ddaf4df0a49428ded7c23d","index":2,"contentType":"venue","hotelLink":"/culture/cultural-comment/when-marvel-meets-much-ado-about-nothing","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/cultural-comment/when-marvel-meets-much-ado-about-nothing" 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/67e426dace3f96d94c81b247/4:3/w_120,c_limit/Lane-Much-Ado.jpg 120w, https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_240,c_limit/Lane-Much-Ado.jpg 240w, https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_320,c_limit/Lane-Much-Ado.jpg 320w, https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_640,c_limit/Lane-Much-Ado.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_120,c_limit/Lane-Much-Ado.jpg 120w, https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_240,c_limit/Lane-Much-Ado.jpg 240w, https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_320,c_limit/Lane-Much-Ado.jpg 320w, https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_640,c_limit/Lane-Much-Ado.jpg 640w, https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_960,c_limit/Lane-Much-Ado.jpg 960w, https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_1280,c_limit/Lane-Much-Ado.jpg 1280w, https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_1600,c_limit/Lane-Much-Ado.jpg 1600w" sizes="100vw"/><img alt="When Marvel Meets “Much Ado About Nothing”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_1600%2Cc_limit/Lane-Much-Ado.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">Cultural Comment</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/cultural-comment/when-marvel-meets-much-ado-about-nothing" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">When Marvel Meets “Much Ado About Nothing”</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/cultural-comment/when-marvel-meets-much-ado-about-nothing" 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/67e426dace3f96d94c81b247/4:3/w_120,c_limit/Lane-Much-Ado.jpg 120w, https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_240,c_limit/Lane-Much-Ado.jpg 240w, https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_320,c_limit/Lane-Much-Ado.jpg 320w, https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_640,c_limit/Lane-Much-Ado.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_120,c_limit/Lane-Much-Ado.jpg 120w, https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_240,c_limit/Lane-Much-Ado.jpg 240w, https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_320,c_limit/Lane-Much-Ado.jpg 320w, https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_640,c_limit/Lane-Much-Ado.jpg 640w, https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_960,c_limit/Lane-Much-Ado.jpg 960w, https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_1280,c_limit/Lane-Much-Ado.jpg 1280w, https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_1600,c_limit/Lane-Much-Ado.jpg 1600w" sizes="100vw"/><img alt="When Marvel Meets “Much Ado About Nothing”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e426dace3f96d94c81b247/4:3/w_1600%2Cc_limit/Lane-Much-Ado.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">A splashy new production of the play may give a sense of where Shakespeare productions are heading.</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>Anthony Lane</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 Overpriced “Othello” Goes Splat on Broadway","id":"67e3febd43fd6e14c716e28e","index":3,"contentType":"venue","hotelLink":"/magazine/2025/04/07/othello-theatre-review-broadway","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/2025/04/07/othello-theatre-review-broadway" 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/67e4665d1f62848856fa481c/4:3/w_120,c_limit/r45820.png 120w, https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_240,c_limit/r45820.png 240w, https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_320,c_limit/r45820.png 320w, https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_640,c_limit/r45820.png 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_120,c_limit/r45820.png 120w, https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_240,c_limit/r45820.png 240w, https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_320,c_limit/r45820.png 320w, https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_640,c_limit/r45820.png 640w, https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_960,c_limit/r45820.png 960w, https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_1280,c_limit/r45820.png 1280w, https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_1600,c_limit/r45820.png 1600w" sizes="100vw"/><img alt="An Overpriced “Othello” Goes Splat on Broadway" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_1600%2Cc_limit/r45820.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/2025/04/07/othello-theatre-review-broadway" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">An Overpriced “Othello” Goes Splat on Broadway</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/2025/04/07/othello-theatre-review-broadway" 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/67e4665d1f62848856fa481c/4:3/w_120,c_limit/r45820.png 120w, https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_240,c_limit/r45820.png 240w, https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_320,c_limit/r45820.png 320w, https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_640,c_limit/r45820.png 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_120,c_limit/r45820.png 120w, https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_240,c_limit/r45820.png 240w, https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_320,c_limit/r45820.png 320w, https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_640,c_limit/r45820.png 640w, https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_960,c_limit/r45820.png 960w, https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_1280,c_limit/r45820.png 1280w, https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_1600,c_limit/r45820.png 1600w" sizes="100vw"/><img alt="An Overpriced “Othello” Goes Splat on Broadway" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e4665d1f62848856fa481c/4:3/w_1600%2Cc_limit/r45820.png"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Denzel Washington and Jake Gyllenhaal lack direction, and “The Trojans,” a spirited football-themed Iliad, heads for the end zone.</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="vp4iv"></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="jo0d0q"></div></div></div><div data-testid="RowWrapper" id="music" 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">Music</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)" 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, https://media.newyorker.com/photos/67c77231f954c9649f807398/4:3/w_1280,c_limit/r45714.jpg 1280w, https://media.newyorker.com/photos/67c77231f954c9649f807398/4:3/w_1600,c_limit/r45714.jpg 1600w" sizes="100vw"/><img alt="Two Young Pianists Test Their Limits" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67c77231f954c9649f807398/4:3/w_1600%2Cc_limit/r45714.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/2025/03/17/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, https://media.newyorker.com/photos/67c77231f954c9649f807398/4:3/w_1280,c_limit/r45714.jpg 1280w, https://media.newyorker.com/photos/67c77231f954c9649f807398/4:3/w_1600,c_limit/r45714.jpg 1600w" sizes="100vw"/><img alt="Two Young Pianists Test Their Limits" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67c77231f954c9649f807398/4:3/w_1600%2Cc_limit/r45714.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Yunchan Lim tackles Bach’s Goldberg Variations, and Seong-Jin Cho presents a Ravel marathon.</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":"Jeremy Denk’s Musical Account of American Divisions","id":"67bf6bfe6f68675cf33bafab","index":1,"contentType":"venue","hotelLink":"/books/book-currents/jeremy-denks-musical-account-of-american-divisions","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/jeremy-denks-musical-account-of-american-divisions" 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/67c71df986746c39c011585f/4:3/w_120,c_limit/Jeremy_Denk_Book_currents.jpg 120w, https://media.newyorker.com/photos/67c71df986746c39c011585f/4:3/w_240,c_limit/Jeremy_Denk_Book_currents.jpg 240w, https://media.newyorker.com/photos/67c71df986746c39c011585f/4:3/w_320,c_limit/Jeremy_Denk_Book_currents.jpg 320w, https://media.newyorker.com/photos/67c71df986746c39c011585f/4:3/w_640,c_limit/Jeremy_Denk_Book_currents.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67c71df986746c39c011585f/4:3/w_120,c_limit/Jeremy_Denk_Book_currents.jpg 120w, https://media.newyorker.com/photos/67c71df986746c39c011585f/4:3/w_240,c_limit/Jeremy_Denk_Book_currents.jpg 240w, https://media.newyorker.com/photos/67c71df986746c39c011585f/4:3/w_320,c_limit/Jeremy_Denk_Book_currents.jpg 320w, https://media.newyorker.com/photos/67c71df986746c39c011585f/4:3/w_640,c_limit/Jeremy_Denk_Book_currents.jpg 640w, https://media.newyorker.com/photos/67c71df986746c39c011585f/4:3/w_960,c_limit/Jeremy_Denk_Book_currents.jpg 960w, https://media.newyorker.com/photos/67c71df986746c39c011585f/4:3/w_1280,c_limit/Jeremy_Denk_Book_currents.jpg 1280w, https://media.newyorker.com/photos/67c71df986746c39c011585f/4:3/w_1600,c_limit/Jeremy_Denk_Book_currents.jpg 1600w" sizes="100vw"/><img alt="Jeremy Denk’s Musical Account of American Divisions" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67c71df986746c39c011585f/4:3/w_1600%2Cc_limit/Jeremy_Denk_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/jeremy-denks-musical-account-of-american-divisions" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Jeremy Denk’s Musical Account of American Divisions</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/jeremy-denks-musical-account-of-american-divisions" 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/67c71df986746c39c011585f/4:3/w_120,c_limit/Jeremy_Denk_Book_currents.jpg 120w, https://media.newyorker.com/photos/67c71df986746c39c011585f/4:3/w_240,c_limit/Jeremy_Denk_Book_currents.jpg 240w, https://media.newyorker.com/photos/67c71df986746c39c011585f/4:3/w_320,c_limit/Jeremy_Denk_Book_currents.jpg 320w, 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alt="Jeremy Denk’s Musical Account of American Divisions" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67c71df986746c39c011585f/4:3/w_1600%2Cc_limit/Jeremy_Denk_Book_currents.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The award-winning pianist on the relationship between music and politics—and on five books that hold them in tension.</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, 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, 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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":"Before He Formed Led Zeppelin, Jimmy Page Played a Prom in Ohio","id":"67b64f3afc2c7b808f4b1c4f","index":3,"contentType":"venue","hotelLink":"/culture/essay/before-he-formed-led-zeppelin-jimmy-page-played-a-prom-in-ohio","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/essay/before-he-formed-led-zeppelin-jimmy-page-played-a-prom-in-ohio" 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/67b65387f6f0d5981eb1b6c5/4:3/w_120,c_limit/Owen-LedZeppelin.jpg 120w, https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_240,c_limit/Owen-LedZeppelin.jpg 240w, https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_320,c_limit/Owen-LedZeppelin.jpg 320w, https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_640,c_limit/Owen-LedZeppelin.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_120,c_limit/Owen-LedZeppelin.jpg 120w, https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_240,c_limit/Owen-LedZeppelin.jpg 240w, https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_320,c_limit/Owen-LedZeppelin.jpg 320w, https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_640,c_limit/Owen-LedZeppelin.jpg 640w, https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_960,c_limit/Owen-LedZeppelin.jpg 960w, https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_1280,c_limit/Owen-LedZeppelin.jpg 1280w, https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_1600,c_limit/Owen-LedZeppelin.jpg 1600w" sizes="100vw"/><img alt="Before He Formed Led Zeppelin, Jimmy Page Played a Prom in Ohio" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_1600%2Cc_limit/Owen-LedZeppelin.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">Essay</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/essay/before-he-formed-led-zeppelin-jimmy-page-played-a-prom-in-ohio" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Before He Formed Led Zeppelin, Jimmy Page Played a Prom in Ohio</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/essay/before-he-formed-led-zeppelin-jimmy-page-played-a-prom-in-ohio" 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/67b65387f6f0d5981eb1b6c5/4:3/w_120,c_limit/Owen-LedZeppelin.jpg 120w, https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_240,c_limit/Owen-LedZeppelin.jpg 240w, https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_320,c_limit/Owen-LedZeppelin.jpg 320w, https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_640,c_limit/Owen-LedZeppelin.jpg 640w" sizes="100vw"/><source media="(min-width: 1024px)" srcSet="https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_120,c_limit/Owen-LedZeppelin.jpg 120w, https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_240,c_limit/Owen-LedZeppelin.jpg 240w, https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_320,c_limit/Owen-LedZeppelin.jpg 320w, https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_640,c_limit/Owen-LedZeppelin.jpg 640w, https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_960,c_limit/Owen-LedZeppelin.jpg 960w, https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_1280,c_limit/Owen-LedZeppelin.jpg 1280w, https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_1600,c_limit/Owen-LedZeppelin.jpg 1600w" sizes="100vw"/><img alt="Before He Formed Led Zeppelin, Jimmy Page Played a Prom in Ohio" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67b65387f6f0d5981eb1b6c5/4:3/w_1600%2Cc_limit/Owen-LedZeppelin.jpg"/></noscript></picture></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">A new documentary about the band’s early days offers a rich backdrop to an unlikely performance of a star on the rise.</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 Owen</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="rco2x9"></div></div></div><div class="SummaryCollectionGridToActionWrapper-gnReGN eGayfk"></div></div></div></div></div></div><div><div data-testid="RowWrapper" id="more-in-culture" data-journey-hook="row-content" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan MultiPackageBaseRow-gSnwPR MultiPackageRow-cnuYUr knBfzx fWtCBN"><div class="SummaryRiverWrapper-cPyVqg cjXdnq summary-river-verso-channel" data-testid="SummaryRiverWrapper"><section data-testid="SummaryRiverSection" class="SummaryRiverSection-kPnzzO fhMbrM"><div id="More in Culture" class="SummaryRiverTitleWrapper-btvnRQ iXZzqQ"><div class="SectionTitleRoot-dBGvdq ggxHzE" data-testid="SectionTitle"><h2 class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectionTitleHed-dKqZet dxqEAa hLZrSI gbguXG">More in Culture</h2></div></div><div class="GridWrapper-cAzTTK iSDgMW grid grid-margins grid-items-2 SummaryListWrapper-eeFlQw fboyYe summary-list SummaryRiverList-ggyoWN fRqnb grid-layout--adrail"><div class="GridItem-buujkM ckUkOW grid--item grid-layout__content"><div><div class="summary-list__items"><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article 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":"“Warfare” Offers a Hyperrealist Rebuke of the American War Movie","id":"67ebe7f7999bbed116109fad","index":0,"contentType":"venue","hotelLink":"/magazine/2025/04/14/warfare-movie-review","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="/magazine/2025/04/14/warfare-movie-review" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_120,c_limit/r45853.jpg 120w, https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_240,c_limit/r45853.jpg 240w, https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_320,c_limit/r45853.jpg 320w, https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_640,c_limit/r45853.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_120,c_limit/r45853.jpg 120w, https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_240,c_limit/r45853.jpg 240w, https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_320,c_limit/r45853.jpg 320w, https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_640,c_limit/r45853.jpg 640w, https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_960,c_limit/r45853.jpg 960w, https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_1280,c_limit/r45853.jpg 1280w, https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_1600,c_limit/r45853.jpg 1600w" sizes="25vw"/><img alt="“Warfare” Offers a Hyperrealist Rebuke of the American War Movie" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_1600%2Cc_limit/r45853.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">The Current Cinema</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More in Culture" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/magazine/2025/04/14/warfare-movie-review" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">“Warfare” Offers a Hyperrealist Rebuke of the American War Movie</h3></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/magazine/2025/04/14/warfare-movie-review" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_120,c_limit/r45853.jpg 120w, https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_240,c_limit/r45853.jpg 240w, https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_320,c_limit/r45853.jpg 320w, https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_640,c_limit/r45853.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_120,c_limit/r45853.jpg 120w, https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_240,c_limit/r45853.jpg 240w, https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_320,c_limit/r45853.jpg 320w, https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_640,c_limit/r45853.jpg 640w, https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_960,c_limit/r45853.jpg 960w, https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_1280,c_limit/r45853.jpg 1280w, https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_1600,c_limit/r45853.jpg 1600w" sizes="25vw"/><img alt="“Warfare” Offers a Hyperrealist Rebuke of the American War Movie" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ec3fc2999bbed116109fcc/4:3/w_1600%2Cc_limit/r45853.jpg"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Alex Garland’s latest film, which he co-directed with the former Navy SEAL Ray Mendoza, dramatizes a little-known 2006 episode from the Iraq War.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Justin Chang</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article 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 Evolution of Dance Theatre of Harlem","id":"67ec219ba3893af6426b797d","index":1,"contentType":"venue","hotelLink":"/culture/goings-on/the-evolution-of-dance-theatre-of-harlem","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-evolution-of-dance-theatre-of-harlem" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_120,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 120w, https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_240,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 240w, https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_320,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 320w, https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_640,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_120,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 120w, https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_240,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 240w, https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_320,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 320w, https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_640,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 640w, https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_960,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 960w, https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_1280,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 1280w, https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_1600,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 1600w" sizes="25vw"/><img alt="The Evolution of Dance Theatre of Harlem" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_1600%2Cc_limit/DTH%2520Company.%2520Photo%2520by%2520Jeff%2520Cravotta%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 summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More in Culture" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/goings-on/the-evolution-of-dance-theatre-of-harlem" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Evolution of Dance Theatre of Harlem</h3></a><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-evolution-of-dance-theatre-of-harlem" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_120,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 120w, https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_240,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 240w, https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_320,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 320w, https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_640,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_120,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 120w, https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_240,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 240w, https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_320,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 320w, https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_640,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 640w, https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_960,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 960w, https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_1280,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 1280w, https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_1600,c_limit/DTH%20Company.%20Photo%20by%20Jeff%20Cravotta%20copy.jpg 1600w" sizes="25vw"/><img alt="The Evolution of Dance Theatre of Harlem" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ed68ed10da9b8edd764bd1/4:3/w_1600%2Cc_limit/DTH%2520Company.%2520Photo%2520by%2520Jeff%2520Cravotta%2520copy.jpg"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Also: Rachel Syme on the latest in charms, the Chicago rapper Saba, turtle races in Bed-Stuy, Caspar David Friedrich paired with Schumann, and more.</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>Marina Harss,</span> <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Sheldon Pearce,</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">Helen Shaw,</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> <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Taran Dugal,</span> and <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Rachel Syme</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article 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":"Today on “Tariff, Conquer, or Buy”","id":"67ec7aca999bbed116109fcf","index":2,"contentType":"venue","hotelLink":"/cartoons/blitts-kvetchbook/today-on-tariff-conquer-or-buy","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="/cartoons/blitts-kvetchbook/today-on-tariff-conquer-or-buy" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_120,c_limit/blitt_kvetchbook_trump_tariff.jpg 120w, https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_240,c_limit/blitt_kvetchbook_trump_tariff.jpg 240w, https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_320,c_limit/blitt_kvetchbook_trump_tariff.jpg 320w, https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_640,c_limit/blitt_kvetchbook_trump_tariff.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_120,c_limit/blitt_kvetchbook_trump_tariff.jpg 120w, https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_240,c_limit/blitt_kvetchbook_trump_tariff.jpg 240w, https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_320,c_limit/blitt_kvetchbook_trump_tariff.jpg 320w, https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_640,c_limit/blitt_kvetchbook_trump_tariff.jpg 640w, https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_960,c_limit/blitt_kvetchbook_trump_tariff.jpg 960w, https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_1280,c_limit/blitt_kvetchbook_trump_tariff.jpg 1280w, https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_1600,c_limit/blitt_kvetchbook_trump_tariff.jpg 1600w" sizes="25vw"/><img alt="Today on “Tariff, Conquer, or Buy”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_1600%2Cc_limit/blitt_kvetchbook_trump_tariff.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">Blitt’s Kvetchbook</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More in Culture" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/cartoons/blitts-kvetchbook/today-on-tariff-conquer-or-buy" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Today on “Tariff, Conquer, or Buy”</h3></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/cartoons/blitts-kvetchbook/today-on-tariff-conquer-or-buy" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_120,c_limit/blitt_kvetchbook_trump_tariff.jpg 120w, https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_240,c_limit/blitt_kvetchbook_trump_tariff.jpg 240w, https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_320,c_limit/blitt_kvetchbook_trump_tariff.jpg 320w, https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_640,c_limit/blitt_kvetchbook_trump_tariff.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_120,c_limit/blitt_kvetchbook_trump_tariff.jpg 120w, https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_240,c_limit/blitt_kvetchbook_trump_tariff.jpg 240w, https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_320,c_limit/blitt_kvetchbook_trump_tariff.jpg 320w, https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_640,c_limit/blitt_kvetchbook_trump_tariff.jpg 640w, https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_960,c_limit/blitt_kvetchbook_trump_tariff.jpg 960w, https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_1280,c_limit/blitt_kvetchbook_trump_tariff.jpg 1280w, https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_1600,c_limit/blitt_kvetchbook_trump_tariff.jpg 1600w" sizes="25vw"/><img alt="Today on “Tariff, Conquer, or Buy”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ec7b908ffba53fe24e84d7/4:3/w_1600%2Cc_limit/blitt_kvetchbook_trump_tariff.jpg"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Spinning out of control.</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>Barry Blitt</span></span></span></div></div></div></div></div></div><div class="hide-river-ad"><div class="AdWrapper-dQtivb fZrssQ summary-item summary-item--has-border summary-item--has-rule summary-item--article summary-item--text-align-left summary-list__item ad ad--river"><div class="ad__slot ad__slot--river" data-node-id="xw7n1"></div></div></div><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article 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":"Why the Court Hit the Brakes on School Desegregation","id":"67e3feaedcb352df9babced3","index":3,"contentType":"venue","hotelLink":"/magazine/2025/04/07/the-containment-michelle-adams-book-review","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="/magazine/2025/04/07/the-containment-michelle-adams-book-review" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_120,c_limit/r45814.jpg 120w, https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_240,c_limit/r45814.jpg 240w, https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_320,c_limit/r45814.jpg 320w, https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_640,c_limit/r45814.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_120,c_limit/r45814.jpg 120w, https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_240,c_limit/r45814.jpg 240w, https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_320,c_limit/r45814.jpg 320w, https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_640,c_limit/r45814.jpg 640w, https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_960,c_limit/r45814.jpg 960w, https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_1280,c_limit/r45814.jpg 1280w, https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_1600,c_limit/r45814.jpg 1600w" sizes="25vw"/><img alt="Why the Court Hit the Brakes on School Desegregation" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_1600%2Cc_limit/r45814.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">Books</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More in Culture" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/magazine/2025/04/07/the-containment-michelle-adams-book-review" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Why the Court Hit the Brakes on School Desegregation</h3></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/magazine/2025/04/07/the-containment-michelle-adams-book-review" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_120,c_limit/r45814.jpg 120w, https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_240,c_limit/r45814.jpg 240w, https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_320,c_limit/r45814.jpg 320w, https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_640,c_limit/r45814.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_120,c_limit/r45814.jpg 120w, https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_240,c_limit/r45814.jpg 240w, https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_320,c_limit/r45814.jpg 320w, https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_640,c_limit/r45814.jpg 640w, https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_960,c_limit/r45814.jpg 960w, https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_1280,c_limit/r45814.jpg 1280w, https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_1600,c_limit/r45814.jpg 1600w" sizes="25vw"/><img alt="Why the Court Hit the Brakes on School Desegregation" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e2bfb74a482696395ee384/4:3/w_1600%2Cc_limit/r45814.jpg"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Two decades after Brown v. Board, the Supreme Court struck down a desegregation order—and paved the way for today’s retrenchment efforts.</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>Louis Menand</span></span></span></div></div></div></div></div></div></div></div></div><div class="GridItem-buujkM fLDozG grid--item grid-layout__aside"><aside class="SummaryListAside-cnFLhR bwfBrh summary-list__aside"><div class="StickyBoxWrapper-jfYBuk fifekH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-node-id="g14ym5"></div></div><div data-attr-viewport-monitor="" class="RecircMostPopularWrapper-bRuGTi nZGkR recirc-most-popular-wrapper viewport-monitor-anchor"></div></div><div class="StickyBoxPlaceholder-grPmrg dxAvXx"></div></div></aside></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryRiverAd-krWIDC fofFLv ad ad--mid-content"><div class="ad__slot ad__slot--mid-content" data-node-id="g7u9y"></div></div></section><section data-testid="SummaryRiverSection" class="SummaryRiverSection-kPnzzO fhMbrM"><div class="GridWrapper-cAzTTK iSDgMW grid grid-margins grid-items-2 SummaryListWrapper-eeFlQw fboyYe summary-list SummaryRiverList-ggyoWN fRqnb grid-layout--adrail"><div class="GridItem-buujkM ckUkOW grid--item grid-layout__content"><div><div class="summary-list__items"><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article 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":"It’s Always the Other Side That’s Been Brainwashed","id":"67e3fea490ea7191d61a75bd","index":0,"contentType":"venue","hotelLink":"/magazine/2025/04/07/its-always-the-other-side-thats-been-brainwashed","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="/magazine/2025/04/07/its-always-the-other-side-thats-been-brainwashed" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_120,c_limit/r45813web-site.jpg 120w, https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_240,c_limit/r45813web-site.jpg 240w, https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_320,c_limit/r45813web-site.jpg 320w, https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_640,c_limit/r45813web-site.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_120,c_limit/r45813web-site.jpg 120w, https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_240,c_limit/r45813web-site.jpg 240w, https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_320,c_limit/r45813web-site.jpg 320w, https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_640,c_limit/r45813web-site.jpg 640w, https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_960,c_limit/r45813web-site.jpg 960w, https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_1280,c_limit/r45813web-site.jpg 1280w, https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_1600,c_limit/r45813web-site.jpg 1600w" sizes="25vw"/><img alt="It’s Always the Other Side That’s Been Brainwashed" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_1600%2Cc_limit/r45813web-site.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">A Critic at Large</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More in Culture" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/magazine/2025/04/07/its-always-the-other-side-thats-been-brainwashed" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">It’s Always the Other Side That’s Been Brainwashed</h3></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/magazine/2025/04/07/its-always-the-other-side-thats-been-brainwashed" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_120,c_limit/r45813web-site.jpg 120w, https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_240,c_limit/r45813web-site.jpg 240w, https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_320,c_limit/r45813web-site.jpg 320w, https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_640,c_limit/r45813web-site.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_120,c_limit/r45813web-site.jpg 120w, https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_240,c_limit/r45813web-site.jpg 240w, https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_320,c_limit/r45813web-site.jpg 320w, https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_640,c_limit/r45813web-site.jpg 640w, https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_960,c_limit/r45813web-site.jpg 960w, https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_1280,c_limit/r45813web-site.jpg 1280w, https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_1600,c_limit/r45813web-site.jpg 1600w" sizes="25vw"/><img alt="It’s Always the Other Side That’s Been Brainwashed" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e1b961f5c69a3a14a09a75/4:3/w_1600%2Cc_limit/r45813web-site.jpg"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">What talk of brainwashing helps us not to talk about.</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>Nikhil Krishnan</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article 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 Second Season of “Wolf Hall” Surpasses Its Acclaimed Predecessor","id":"67e3fecd447b2e4869f35965","index":1,"contentType":"venue","hotelLink":"/magazine/2025/04/07/wolf-hall-the-mirror-and-the-light-tv-review-pbs","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="/magazine/2025/04/07/wolf-hall-the-mirror-and-the-light-tv-review-pbs" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_120,c_limit/r45821web_rd2.jpg 120w, https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_240,c_limit/r45821web_rd2.jpg 240w, https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_320,c_limit/r45821web_rd2.jpg 320w, https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_640,c_limit/r45821web_rd2.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_120,c_limit/r45821web_rd2.jpg 120w, https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_240,c_limit/r45821web_rd2.jpg 240w, https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_320,c_limit/r45821web_rd2.jpg 320w, https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_640,c_limit/r45821web_rd2.jpg 640w, https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_960,c_limit/r45821web_rd2.jpg 960w, https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_1280,c_limit/r45821web_rd2.jpg 1280w, https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_1600,c_limit/r45821web_rd2.jpg 1600w" sizes="25vw"/><img alt="The Second Season of “Wolf Hall” Surpasses Its Acclaimed Predecessor" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_1600%2Cc_limit/r45821web_rd2.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">On Television</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More in Culture" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/magazine/2025/04/07/wolf-hall-the-mirror-and-the-light-tv-review-pbs" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Second Season of “Wolf Hall” Surpasses Its Acclaimed Predecessor</h3></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb cPpCwE summary-item__image-link summary-item-tracking__image-link" href="/magazine/2025/04/07/wolf-hall-the-mirror-and-the-light-tv-review-pbs" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_120,c_limit/r45821web_rd2.jpg 120w, https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_240,c_limit/r45821web_rd2.jpg 240w, https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_320,c_limit/r45821web_rd2.jpg 320w, https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_640,c_limit/r45821web_rd2.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_120,c_limit/r45821web_rd2.jpg 120w, https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_240,c_limit/r45821web_rd2.jpg 240w, https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_320,c_limit/r45821web_rd2.jpg 320w, https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_640,c_limit/r45821web_rd2.jpg 640w, https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_960,c_limit/r45821web_rd2.jpg 960w, https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_1280,c_limit/r45821web_rd2.jpg 1280w, https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_1600,c_limit/r45821web_rd2.jpg 1600w" sizes="25vw"/><img alt="The Second Season of “Wolf Hall” Surpasses Its Acclaimed Predecessor" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e57cd50081c5f9532c2ea5/4:3/w_1600%2Cc_limit/r45821web_rd2.jpg"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">In the culmination of the Hilary Mantel adaptation, Mark Rylance’s Thomas Cromwell becomes a more poignant figure, weighed down by regrets.</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>Inkoo Kang</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article 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":"Why Do We Want to Believe That Jim Morrison Is Still Alive?","id":"67e59b5704d3d719906f022e","index":2,"contentType":"venue","hotelLink":"/culture/critics-notebook/why-do-we-want-to-believe-that-jim-morrison-is-still-alive","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/critics-notebook/why-do-we-want-to-believe-that-jim-morrison-is-still-alive" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_120,c_limit/NewYorker_JimMorrison_R2.jpg 120w, https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_240,c_limit/NewYorker_JimMorrison_R2.jpg 240w, https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_320,c_limit/NewYorker_JimMorrison_R2.jpg 320w, https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_640,c_limit/NewYorker_JimMorrison_R2.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_120,c_limit/NewYorker_JimMorrison_R2.jpg 120w, https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_240,c_limit/NewYorker_JimMorrison_R2.jpg 240w, https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_320,c_limit/NewYorker_JimMorrison_R2.jpg 320w, https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_640,c_limit/NewYorker_JimMorrison_R2.jpg 640w, https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_960,c_limit/NewYorker_JimMorrison_R2.jpg 960w, https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_1280,c_limit/NewYorker_JimMorrison_R2.jpg 1280w, https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_1600,c_limit/NewYorker_JimMorrison_R2.jpg 1600w" sizes="25vw"/><img alt="Why Do We Want to Believe That Jim Morrison Is Still Alive?" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_1600%2Cc_limit/NewYorker_JimMorrison_R2.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">Critic’s Notebook</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More in Culture" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/critics-notebook/why-do-we-want-to-believe-that-jim-morrison-is-still-alive" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Why Do We Want to Believe That Jim Morrison Is Still Alive?</h3></a><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/critics-notebook/why-do-we-want-to-believe-that-jim-morrison-is-still-alive" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_120,c_limit/NewYorker_JimMorrison_R2.jpg 120w, https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_240,c_limit/NewYorker_JimMorrison_R2.jpg 240w, https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_320,c_limit/NewYorker_JimMorrison_R2.jpg 320w, https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_640,c_limit/NewYorker_JimMorrison_R2.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_120,c_limit/NewYorker_JimMorrison_R2.jpg 120w, https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_240,c_limit/NewYorker_JimMorrison_R2.jpg 240w, https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_320,c_limit/NewYorker_JimMorrison_R2.jpg 320w, https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_640,c_limit/NewYorker_JimMorrison_R2.jpg 640w, https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_960,c_limit/NewYorker_JimMorrison_R2.jpg 960w, https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_1280,c_limit/NewYorker_JimMorrison_R2.jpg 1280w, https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_1600,c_limit/NewYorker_JimMorrison_R2.jpg 1600w" sizes="25vw"/><img alt="Why Do We Want to Believe That Jim Morrison Is Still Alive?" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e5b54eadededf7cf487b48/4:3/w_1600%2Cc_limit/NewYorker_JimMorrison_R2.jpg"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">The singer died in 1971. A new documentary series posits that he faked his death to escape the burden of fame, and is living in hiding.</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>Naomi Fry</span></span></span></div></div></div></div></div></div><div class="hide-river-ad"><div class="AdWrapper-dQtivb fZrssQ summary-item summary-item--has-border summary-item--has-rule summary-item--article summary-item--text-align-left summary-list__item ad ad--river"><div class="ad__slot ad__slot--river" data-node-id="9qbgm"></div></div></div><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article 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":"Welcome to the Preschool Plague Years","id":"67db304f5770ea2a836f4836","index":3,"contentType":"venue","hotelLink":"/culture/the-weekend-essay/welcome-to-the-preschool-plague-years","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/the-weekend-essay/welcome-to-the-preschool-plague-years" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_120,c_limit/Final_GraceJKim_SickDays_edit.jpeg 120w, https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_240,c_limit/Final_GraceJKim_SickDays_edit.jpeg 240w, https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_320,c_limit/Final_GraceJKim_SickDays_edit.jpeg 320w, https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_640,c_limit/Final_GraceJKim_SickDays_edit.jpeg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_120,c_limit/Final_GraceJKim_SickDays_edit.jpeg 120w, https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_240,c_limit/Final_GraceJKim_SickDays_edit.jpeg 240w, https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_320,c_limit/Final_GraceJKim_SickDays_edit.jpeg 320w, https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_640,c_limit/Final_GraceJKim_SickDays_edit.jpeg 640w, https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_960,c_limit/Final_GraceJKim_SickDays_edit.jpeg 960w, https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_1280,c_limit/Final_GraceJKim_SickDays_edit.jpeg 1280w, https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_1600,c_limit/Final_GraceJKim_SickDays_edit.jpeg 1600w" sizes="25vw"/><img alt="Welcome to the Preschool Plague Years" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_1600%2Cc_limit/Final_GraceJKim_SickDays_edit.jpeg"/></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">The Weekend Essay</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More in Culture" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/the-weekend-essay/welcome-to-the-preschool-plague-years" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Welcome to the Preschool Plague Years</h3></a><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/the-weekend-essay/welcome-to-the-preschool-plague-years" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_120,c_limit/Final_GraceJKim_SickDays_edit.jpeg 120w, https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_240,c_limit/Final_GraceJKim_SickDays_edit.jpeg 240w, https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_320,c_limit/Final_GraceJKim_SickDays_edit.jpeg 320w, https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_640,c_limit/Final_GraceJKim_SickDays_edit.jpeg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_120,c_limit/Final_GraceJKim_SickDays_edit.jpeg 120w, https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_240,c_limit/Final_GraceJKim_SickDays_edit.jpeg 240w, https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_320,c_limit/Final_GraceJKim_SickDays_edit.jpeg 320w, https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_640,c_limit/Final_GraceJKim_SickDays_edit.jpeg 640w, https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_960,c_limit/Final_GraceJKim_SickDays_edit.jpeg 960w, https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_1280,c_limit/Final_GraceJKim_SickDays_edit.jpeg 1280w, https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_1600,c_limit/Final_GraceJKim_SickDays_edit.jpeg 1600w" sizes="25vw"/><img alt="Welcome to the Preschool Plague Years" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e6ae45328f76140382dac2/4:3/w_1600%2Cc_limit/Final_GraceJKim_SickDays_edit.jpeg"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Young children bring so much joy into their parents’ lives—and so, so many germs.</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>Kathryn Schulz</span></span></span></div></div></div></div></div></div></div></div></div><div class="GridItem-buujkM fLDozG grid--item grid-layout__aside"><aside class="SummaryListAside-cnFLhR bwfBrh summary-list__aside"><div class="StickyBoxWrapper-jfYBuk fifekH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-node-id="zw9tsn"></div></div><div data-attr-viewport-monitor="" class="RecircMostPopularWrapper-bRuGTi nZGkR recirc-most-popular-wrapper viewport-monitor-anchor"></div></div><div class="StickyBoxPlaceholder-grPmrg dxAvXx"></div></div></aside></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryRiverAd-krWIDC fofFLv ad ad--mid-content"><div class="ad__slot ad__slot--mid-content" data-node-id="84j1ch"></div></div></section><section data-testid="SummaryRiverSection" class="SummaryRiverSection-kPnzzO fhMbrM"><div class="GridWrapper-cAzTTK iSDgMW grid grid-margins grid-items-2 SummaryListWrapper-eeFlQw fboyYe summary-list SummaryRiverList-ggyoWN fRqnb grid-layout--adrail"><div class="GridItem-buujkM ckUkOW grid--item grid-layout__content"><div><div class="summary-list__items"><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article 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":"Richard Brody’s New Directors/New Films Picks","id":"67e44c1cce3f96d94c81b248","index":0,"contentType":"venue","hotelLink":"/culture/goings-on/richard-brodys-new-directors-new-films-picks","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/richard-brodys-new-directors-new-films-picks" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_120,c_limit/r45801%20copy.jpg 120w, https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_240,c_limit/r45801%20copy.jpg 240w, https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_320,c_limit/r45801%20copy.jpg 320w, https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_640,c_limit/r45801%20copy.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_120,c_limit/r45801%20copy.jpg 120w, https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_240,c_limit/r45801%20copy.jpg 240w, https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_320,c_limit/r45801%20copy.jpg 320w, https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_640,c_limit/r45801%20copy.jpg 640w, https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_960,c_limit/r45801%20copy.jpg 960w, https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_1280,c_limit/r45801%20copy.jpg 1280w, https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_1600,c_limit/r45801%20copy.jpg 1600w" sizes="25vw"/><img alt="Richard Brody’s New Directors/New Films Picks" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_1600%2Cc_limit/r45801%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 summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More in Culture" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/goings-on/richard-brodys-new-directors-new-films-picks" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Richard Brody’s New Directors/New Films Picks</h3></a><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/richard-brodys-new-directors-new-films-picks" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_120,c_limit/r45801%20copy.jpg 120w, https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_240,c_limit/r45801%20copy.jpg 240w, https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_320,c_limit/r45801%20copy.jpg 320w, https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_640,c_limit/r45801%20copy.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_120,c_limit/r45801%20copy.jpg 120w, https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_240,c_limit/r45801%20copy.jpg 240w, https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_320,c_limit/r45801%20copy.jpg 320w, https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_640,c_limit/r45801%20copy.jpg 640w, https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_960,c_limit/r45801%20copy.jpg 960w, https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_1280,c_limit/r45801%20copy.jpg 1280w, https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_1600,c_limit/r45801%20copy.jpg 1600w" sizes="25vw"/><img alt="Richard Brody’s New Directors/New Films Picks" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e427aaed0290323ce60633/4:3/w_1600%2Cc_limit/r45801%2520copy.jpg"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">Also: The hundred-year-old jazz saxophonist Marshall Allen, Baz Luhrmann’s dramatic new East Village bar, Alice Childress’s “Wine in the Wilderness,” and more.</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 data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Helen Shaw,</span> <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Marina Harss,</span> <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Sheldon Pearce,</span> <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Dan Stahl,</span> <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Jane Bua,</span> and <span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name">Rachel Syme</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hHqfkN summary-item summary-item--has-border summary-item--article 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":"Barry Blitt’s “Left to Their Own Devices”","id":"67e460a7ed0290323ce60641","index":1,"contentType":"venue","hotelLink":"/culture/cover-story/cover-story-2025-04-07","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/cover-story/cover-story-2025-04-07" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_120,c_limit/CoverStory-web_blitt_strangelove.jpg 120w, https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_240,c_limit/CoverStory-web_blitt_strangelove.jpg 240w, https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_320,c_limit/CoverStory-web_blitt_strangelove.jpg 320w, https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_640,c_limit/CoverStory-web_blitt_strangelove.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_120,c_limit/CoverStory-web_blitt_strangelove.jpg 120w, https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_240,c_limit/CoverStory-web_blitt_strangelove.jpg 240w, https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_320,c_limit/CoverStory-web_blitt_strangelove.jpg 320w, https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_640,c_limit/CoverStory-web_blitt_strangelove.jpg 640w, https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_960,c_limit/CoverStory-web_blitt_strangelove.jpg 960w, https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_1280,c_limit/CoverStory-web_blitt_strangelove.jpg 1280w, https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_1600,c_limit/CoverStory-web_blitt_strangelove.jpg 1600w" sizes="25vw"/><img alt="Barry Blitt’s “Left to Their Own Devices”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_1600%2Cc_limit/CoverStory-web_blitt_strangelove.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">Cover Story</span></div></div><a class="SummaryItemHedLink-civMjp jRfyII summary-item-tracking__hed-link summary-item__hed-link" data-component-title="More in Culture" data-component-type="recirc-river" data-recirc-pattern="summary-item" href="/culture/cover-story/cover-story-2025-04-07" target="_self"><h3 class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Barry Blitt’s “Left to Their Own Devices”</h3></a><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/cover-story/cover-story-2025-04-07" aria-hidden="true" tabindex="-1" data-component-title="More in Culture" 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 responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_120,c_limit/CoverStory-web_blitt_strangelove.jpg 120w, https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_240,c_limit/CoverStory-web_blitt_strangelove.jpg 240w, https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_320,c_limit/CoverStory-web_blitt_strangelove.jpg 320w, https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_640,c_limit/CoverStory-web_blitt_strangelove.jpg 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_120,c_limit/CoverStory-web_blitt_strangelove.jpg 120w, https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_240,c_limit/CoverStory-web_blitt_strangelove.jpg 240w, https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_320,c_limit/CoverStory-web_blitt_strangelove.jpg 320w, https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_640,c_limit/CoverStory-web_blitt_strangelove.jpg 640w, https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_960,c_limit/CoverStory-web_blitt_strangelove.jpg 960w, https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_1280,c_limit/CoverStory-web_blitt_strangelove.jpg 1280w, https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_1600,c_limit/CoverStory-web_blitt_strangelove.jpg 1600w" sizes="25vw"/><img alt="Barry Blitt’s “Left to Their Own Devices”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67e5e21abfe44c6ab82c8d7d/4:3/w_1600%2Cc_limit/CoverStory-web_blitt_strangelove.jpg"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo ptJEE summary-item__dek">The Trump Administration’s not-so-classified group chat.</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>Françoise Mouly</span></span></span><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">Art by </span>Barry Blitt</span></span></span></div></div></div></div></div></div></div></div></div><div class="GridItem-buujkM fLDozG grid--item 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In his column, \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Finfinite-scroll\"\u003EInfinite Scroll\u003C\u002Fa\u003E, he has explored why \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Finfinite-scroll\u002Fwhy-the-internet-isnt-fun-anymore\"\u003Ethe Internet isn’t fun anymore\u003C\u002Fa\u003E, examined whether \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Finfinite-scroll\u002Fis-ai-art-stealing-from-artists\"\u003EA.I. art steals from artists\u003C\u002Fa\u003E, and covered \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fcultural-comment\u002Ftiktok-and-the-vibes-revival\"\u003ETikTok’s role in the vibes revival\u003C\u002Fa\u003E. Chayka, who first contributed to \u003Cem\u003EThe\u003C\u002Fem\u003E ... \u003Ca href=\"\u002Fcontributors\u002Fkyle-chayka\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fkyle-chayka\"\u003EKyle Chayka\u003C\u002Fa\u003E is a staff writer at \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E. His column, \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Finfinite-scroll\"\u003EInfinite Scroll\u003C\u002Fa\u003E, examines the people and platforms shaping the Internet. His books include “\u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002FFilterworld-How-Algorithms-Flattened-Culture\u002Fdp\u002F0385548281\"\u003EFilterworld: How Algorithms Flattened Culture\u003C\u002Fa\u003E.”","name":"Kyle Chayka","photo":{"altText":"","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F60d4ac8925fa556303904def\u002F4:3\u002Fw_768,c_limit\u002Fkyle_chayka.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F60d4ac8925fa556303904def\u002F4:3\u002Fw_120,c_limit\u002Fkyle_chayka.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F60d4ac8925fa556303904def\u002F4:3\u002Fw_240,c_limit\u002Fkyle_chayka.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F60d4ac8925fa556303904def\u002F4:3\u002Fw_320,c_limit\u002Fkyle_chayka.png 320w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F60d4ac8925fa556303904def\u002F4:3\u002Fw_640,c_limit\u002Fkyle_chayka.png 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For \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E, Winter has \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fscience\u002Fannals-of-medicine\u002Fwhat-the-life-of-the-mother-might-mean-in-a-post-roe-america\"\u003Ereported\u003C\u002Fa\u003E \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fnews\u002Fdaily-comment\u002Fthe-supreme-court-decision-that-defined-abortion-rights-for-thirty-years\"\u003Eextensively\u003C\u002Fa\u003E on the \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fnews\u002Fnews-desk\u002Fthe-dobbs-decision-has-unleashed-legal-chaos-for-doctors-and-patients\"\u003Elandscape\u003C\u002Fa\u003E for \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fscience\u002Fannals-of-medicine\u002Fthe-fight-over-ivf-is-only-beginning\"\u003Ereproductive rights\u003C\u002Fa\u003E in the U.S. ... \u003Ca href=\"\u002Fcontributors\u002Fjessica-winter\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fjessica-winter\"\u003EJessica Winter\u003C\u002Fa\u003E joined The New Yorker as an editor in 2017 and became a staff writer in 2024, covering family and education. She is the author of the novels “\u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002FBreak-Case-Emergency-Vintage-Contemporaries\u002Fdp\u002F110191193X\"\u003EBreak in Case of Emergency\u003C\u002Fa\u003E” and “\u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002FFourth-Child-Novel-Jessica-Winter\u002Fdp\u002F0062971557\"\u003EThe Fourth Child\u003C\u002Fa\u003E.”","name":"Jessica Winter","photo":{"altText":"","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5a6b653cba29794f7c53ae6d\u002F4:3\u002Fw_768,c_limit\u002Fjessica-winter.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5a6b653cba29794f7c53ae6d\u002F4:3\u002Fw_120,c_limit\u002Fjessica-winter.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5a6b653cba29794f7c53ae6d\u002F4:3\u002Fw_240,c_limit\u002Fjessica-winter.png 240w, 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He is the author of the weekly column \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fopen-questions\"\u003EOpen Questions\u003C\u002Fa\u003E, which explores, from various angles, what it means to be human. Previously, he was the magazine’s ideas editor. He has also been an ideas columnist at the Boston \u003Cem\u003EGlobe\u003C\u002Fem\u003E, ... \u003Ca href=\"\u002Fcontributors\u002Fjoshua-rothman\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fjoshua-rothman\"\u003EJoshua Rothman\u003C\u002Fa\u003E, a staff writer, authors the weekly column \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fopen-questions\"\u003EOpen Questions\u003C\u002Fa\u003E. He has been with the magazine since 2012.","name":"Joshua Rothman","photo":{"altText":"","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b8e1c7a8e33fb39022a\u002F4:3\u002Fw_768,c_limit\u002Frothman-joshua.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b8e1c7a8e33fb39022a\u002F4:3\u002Fw_120,c_limit\u002Frothman-joshua.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b8e1c7a8e33fb39022a\u002F4:3\u002Fw_240,c_limit\u002Frothman-joshua.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b8e1c7a8e33fb39022a\u002F4:3\u002Fw_320,c_limit\u002Frothman-joshua.png 320w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b8e1c7a8e33fb39022a\u002F4:3\u002Fw_640,c_limit\u002Frothman-joshua.png 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Seriously Enough?","dangerousDek":"There’s no longer any scenario in which A.I. fades into irrelevance. We urgently need voices from outside the industry to help shape its future.","date":"April 1, 2025","pubDate":"2025-04-01T10:00:00.000Z","issueDate":"","image":{"altText":"Are We Taking A.I. 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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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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":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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The dish he pioneered became a phenomenon.","date":"March 24, 2025","pubDate":"2025-03-24T10:00:00.000Z","issueDate":"March 31, 2025","image":{"altText":"The Quintessentially American Story of Indian Pizza","caption":"","contentType":"photo","credit":"Photo illustration by Jason Fulford and Tamara Shopsin","id":"67db23066356ed23ae6251e1","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67db23066356ed23ae6251e1\u002F4:3\u002Fw_768,c_limit\u002Fr45781web-site.jpg","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67db23066356ed23ae6251e1\u002F4:3\u002Fw_120,c_limit\u002Fr45781web-site.jpg 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67db23066356ed23ae6251e1\u002F4:3\u002Fw_240,c_limit\u002Fr45781web-site.jpg 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67db23066356ed23ae6251e1\u002F4:3\u002Fw_320,c_limit\u002Fr45781web-site.jpg 320w, 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the magazine since 2001. ... \u003Ca href=\"\u002Fcontributors\u002Fsarah-larson\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fsarah-larson\"\u003ESarah Larson\u003C\u002Fa\u003E, a staff writer, has been contributing to \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E since 2007.","name":"Sarah Larson","photo":{"altText":"","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b7aebe912338a378662\u002F4:3\u002Fw_768,c_limit\u002Flarson-sarah-1.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b7aebe912338a378662\u002F4:3\u002Fw_120,c_limit\u002Flarson-sarah-1.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b7aebe912338a378662\u002F4:3\u002Fw_240,c_limit\u002Flarson-sarah-1.png 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59097b7aebe912338a378662\u002F4:3\u002Fw_320,c_limit\u002Flarson-sarah-1.png 320w, 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She began writing for the magazine in 2016, and has covered, for The Talk of the Town, underground \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2018\u002F07\u002F09\u002Ftribecas-hydroponic-underground\"\u003Ehydroponic farms\u003C\u002Fa\u003E, \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2017\u002F10\u002F02\u002Fthe-finnish-obsession-with-sweating\"\u003EFinnish saunas\u003C\u002Fa\u003E, \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2018\u002F03\u002F19\u002Ftwo-design-geeks-crazed-for-coffee-cup-lids\"\u003Ecoffee-cup lids\u003C\u002Fa\u003E, a hot-towel shave with \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2018\u002F02\u002F05\u002Fjohn-lithgow-likes-it-hot\"\u003EJohn Lithgow\u003C\u002Fa\u003E, and a Holocaust survivor’s \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2018\u002F01\u002F22\u002Fa-holocaust-survivors-digital-doppelganger\"\u003Edigital doppelgänger\u003C\u002Fa\u003E. She ... \u003Ca href=\"\u002Fcontributors\u002Fanna-russell\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fanna-russell\"\u003EAnna Russell\u003C\u002Fa\u003E, a contributing writer for \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E, began writing for the magazine in 2016. 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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":"\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. 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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. 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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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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, 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Dugal","socialMedia":[],"url":"\u002Fcontributors\u002Ftaran-dugal"},{"dangerousBio":"\u003Ca href=\"\u002Fcontributors\u002Frachel-syme\"\u003ERachel Syme\u003C\u002Fa\u003E, a staff writer, has covered Hollywood, theatre, fashion, television, podcasts, style, and other cultural subjects for \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E since 2012. 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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writer since 2001. His book “\u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0374528497\u002F?ots=1&slotNum=0&imprToken=30bf99ac-9e29-7000-98c&tag=thneyo0f-20\"\u003EThe Metaphysical Club\u003C\u002Fa\u003E” was awarded the 2002 Pulitzer Prize for history and the Francis Parkman Prize from the Society of American Historians. His book “\u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002FFree-World-Art-Thought-Cold\u002Fdp\u002F125082964X\u002Fref=sr_1_1?keywords=free+world+menand&qid=1645822781&s=books&sprefix=free+world,stripbooks,70&sr=1-1\"\u003EThe Free World: Art and Thought\u003C\u002Fa\u003E ... \u003Ca href=\"\u002Fcontributors\u002Flouis-menand\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Flouis-menand\"\u003ELouis Menand\u003C\u002Fa\u003E is a staff writer at \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E. His books include “\u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002FFree-World-Art-Thought-Cold\u002Fdp\u002F0374158452\"\u003EThe Free World: Art and Thought in the Cold War\u003C\u002Fa\u003E,” released in 2021, and “\u003Ca href=\"https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0374528497\"\u003EThe Metaphysical Club\u003C\u002Fa\u003E,” which was awarded a Pulitzer Prize for history.","name":"Louis Menand","photo":{"altText":"","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5948725b55a93b3a4cb247ce\u002F4:3\u002Fw_768,c_limit\u002Fmenand-louis.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5948725b55a93b3a4cb247ce\u002F4:3\u002Fw_120,c_limit\u002Fmenand-louis.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5948725b55a93b3a4cb247ce\u002F4:3\u002Fw_240,c_limit\u002Fmenand-louis.png 240w, 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Board, the Supreme Court struck down a desegregation order—and paved the way for today’s retrenchment efforts.","date":"March 31, 2025","pubDate":"2025-03-31T10:00:00.000Z","issueDate":"April 7, 2025","image":{"altText":"Why the Court Hit the Brakes on School Desegregation","caption":"After 1972, it was plain that busing mandates had made court-ordered school desegregation explosively unpopular among white voters.","contentType":"photo","credit":"Photograph from Interim Archives \u002F Getty","id":"67e2bfb74a482696395ee384","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67e2bfb74a482696395ee384\u002F4:3\u002Fw_768,c_limit\u002Fr45814.jpg","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67e2bfb74a482696395ee384\u002F4:3\u002Fw_120,c_limit\u002Fr45814.jpg 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67e2bfb74a482696395ee384\u002F4:3\u002Fw_240,c_limit\u002Fr45814.jpg 240w, 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href=\"\u002Fcontributors\u002Fnaomi-fry\"\u003ENaomi Fry\u003C\u002Fa\u003E, a staff writer at \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E since 2018, is a regular contributor to the weekly column \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fcritics-notebook\"\u003ECritic’s Notebook\u003C\u002Fa\u003E. 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She attended Tel Aviv University, ... \u003Ca href=\"\u002Fcontributors\u002Fnaomi-fry\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fnaomi-fry\"\u003ENaomi Fry\u003C\u002Fa\u003E, a staff writer at \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E since 2018, is a regular contributor to the weekly column \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fcritics-notebook\"\u003ECritic’s Notebook\u003C\u002Fa\u003E.","name":"Naomi Fry","photo":{"altText":"","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5a96f494ad969403c9085901\u002F4:3\u002Fw_768,c_limit\u002Fnaomi-fry-avitar.png","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5a96f494ad969403c9085901\u002F4:3\u002Fw_120,c_limit\u002Fnaomi-fry-avitar.png 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F5a96f494ad969403c9085901\u002F4:3\u002Fw_240,c_limit\u002Fnaomi-fry-avitar.png 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A new documentary series posits that he faked his death to escape the burden of fame, and is living in hiding.","date":"March 29, 2025","pubDate":"2025-03-29T10:00:00.000Z","issueDate":"","image":{"altText":"Why Do We Want to Believe That Jim Morrison Is Still Alive?","caption":"","contentType":"photo","credit":"Illustration by Anthony Gerace","id":"67e5b54eadededf7cf487b48","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67e5b54eadededf7cf487b48\u002F4:3\u002Fw_768,c_limit\u002FNewYorker_JimMorrison_R2.jpg","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67e5b54eadededf7cf487b48\u002F4:3\u002Fw_120,c_limit\u002FNewYorker_JimMorrison_R2.jpg 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67e5b54eadededf7cf487b48\u002F4:3\u002Fw_240,c_limit\u002FNewYorker_JimMorrison_R2.jpg 240w, 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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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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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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":"\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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Hollywood, theatre, fashion, television, podcasts, style, and other cultural subjects for \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E since 2012. 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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2025","pubDate":"2025-03-28T10:00:00.000Z","issueDate":"April 7, 2025","image":{"altText":"Richard Brody’s New Directors\u002FNew Films Picks","caption":"The Croatian filmmaker Igor Bezinović’s “Fiume o Morte!”","contentType":"photo","credit":"Photograph courtesy Lightdox","id":"67e427aaed0290323ce60633","sources":{"sm":{"aspectRatio":"4:3","width":768,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67e427aaed0290323ce60633\u002F4:3\u002Fw_768,c_limit\u002Fr45801%20copy.jpg","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67e427aaed0290323ce60633\u002F4:3\u002Fw_120,c_limit\u002Fr45801%20copy.jpg 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67e427aaed0290323ce60633\u002F4:3\u002Fw_240,c_limit\u002Fr45801%20copy.jpg 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67e427aaed0290323ce60633\u002F4:3\u002Fw_320,c_limit\u002Fr45801%20copy.jpg 320w, 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