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Since 1925. Tap the link below to read more about any post.
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Recent posts
In the wake of last week’s midterm election, political commentators have reached for historical points of comparison for the astonishing nationwide triumph of the Democratic Party. More than a few settled on the post-Watergate midterms of 1974. “In sheer magnitude, this week’s Democratic victory—a sweeping repudiation, above all, of Donald Trump and the low, dishonest decade he has defined—makes the post-Watergate humbling seem modest,” David Remnick writes. Both houses of Congress flipped. Nine of the ten most populous states will now have Democratic governors. “This is a moment of enormous relief and celebration,” Remnick contends. Trump can still do damage, and, in defeat, may prove even more unhinged and vengeful. But restraints in Congress and beyond are now far stronger. He has been significantly weakened. Read Remnick’s post-election reflection at the link in our bio. Photo illustration by Cristiana Couceiro (@cristianacouceiro); Source photographs from Getty.
07 Nov 2026
In 2024, Shayla Love posted a message on cruisecritic.com, the largest online cruise-reviewing platform, asking to speak with people who had decided to live at sea indefinitely. She was connected with passengers living on Villa Vie’s Odyssey, a ship that was supposed to sail forever. In September, an e-mail popped up on her phone with a curious subject line: “Villa Vie Odyssey is sinking.”
Earlier this year, the ship’s owner announced that a temporary $1,500 fuel surcharge would be added to monthly fees. In April, the company taped letters to the door of each cabin, asking for emergency loans. By October 26th, the ship’s hotel manager informed residents that if there was no resolution to the financial issues, they would all be asked to leave the next day. Passengers spent Monday night emptying their liquor cabinets at a ship-wide party. On Tuesday morning, they had to disembark at an industrial port on the outskirts of Sihanoukville, Cambodia. At the link in our bio, Shayla Love talks to the people who spent hundreds of thousands of dollars on a cruise that would last forever, only to get off the ship months later. Illustration by Jackson Gibbs (@jacksonlgibbs).
07 Nov 2026
The permission to desire is one of the main themes of the new film “Wicker,” a romp directed by Alex Huston Fischer and Eleanor Wilson. The movie’s essence is Chaucerian, taking place in a medieval village where lewdness rules, the men are bores, and the women are sours. Loneliness propels one unmarried crone, the Fisherwoman, played by Olivia Colman, to have her dream man woven into existence, and their subsequent relationship causes a culture war to erupt in the town. However, “the lightness of ‘Wicker’ prevents us from ever feeling lectured at,” Doreen St. Félix writes. Read more about “Wicker,” and the culture that drives women into the arms of monsters, at the link in our bio. Photographs from Black Bear / Everett.
07 Nov 2026
“People are just sick of all the bullshit,” Pete Buttigieg tells David Remnick on #NewYorkerRadioHour. Listen to Buttigieg’s full musings on the midterms at the link in our bio.
07 Nov 2026
With “Paper Tiger,” James Gray “launches a tale of fear and violence, criminal conspiracies and paranoia,” Richard Brody writes. The story opens on Labor Day in 1986, as an environmental engineer named Irwin (Miles Teller) is wooed by his ex-N.Y.P.D. brother, Gary (Adam Driver), into a scheme for easy money. Gary wants the pair to work as co-consultants to the owners of a grossly polluted site on the Gowanus Canal, in Brooklyn, which is about to undergo a federally funded cleanup. Gary assures his brother that everything is above board, a lie that quickly unravels. Soon, Irwin is being threatened and beaten by Russian gangsters. To protect the family, Gary goes into heavy debt to the syndicate. As the days until payment is due tick grimly by, Irwin and Hester (Scarlett Johansson) grow increasingly fretful and angry, and their widening divisions wrench the family apart, to intimately catastrophic effect. At the link in our bio, read Brody’s review. Photograph by Neon / Everett.
06 Nov 2026
On #NewYorkerRadioHour, Pete Buttigieg discusses why J. D. Vance can’t keep the “Trump stink” off of him. Listen to the full conversation at the link in our bio.
06 Nov 2026
An early look at next week’s cover, “Sea Change,” by Barry Blitt.
06 Nov 2026
In 2018, a former Border Patrol agent named Joshua Childress published an article in the Daily Beast titled “Why I Quit the Border Patrol.” “I was enforcing the rules of a game I had won simply by being born on the right side of a line,” he wrote. For Francisco Cantú, reading Childress’s account was like “looking in a rearview mirror.” Cantú had quit the Border Patrol in 2012, for similar reasons.
Yet, even as the Border Patrol’s work has grown increasingly cruel, there has been no exodus of agents who reject it. Many of them downplay the suffering they cause migrants, insist on their own powerlessness, or choose to believe that they are simply enforcing the law. “Central to such denials is an all-encompassing dehumanization of migrants,” Cantú writes. At the link in our bio, Cantú talks to current and former agents about enacting unjustified violence on behalf of the state. Photograph by Richard Misrach / Fraenkel Gallery / Marc Selwyn Fine Art / PACE.
06 Nov 2026
In “Roy Lichtenstein: Like New,” the Pop artist’s first New York retrospective in over 30 years, his works now take up the Whitney’s entire fifth floor. The show is a “masterpiece of curation and design,” Hilton Als writes, “an exhibition that positions Lichtenstein as the last happy white man in American art.” It is also a show that aims to keep the real world, our gothic political climate included, at bay, in a museum that has foregrounded race- and gender-based political art for years now. “After having a great time at ‘Like New,’ you may find yourself feeling slightly guilty about it,” Als continues. But although Lichtenstein may have been the least dirty and anarchic voice in New York’s sixties avant-garde, the exhibition still serves as a reminder of what a beautiful, forceful energy there was to the scene. As the artist’s signature brightly colored brushstrokes, lines, and Benday dots cause pleasurable kinetic movements in the mind, viewers can see delight in his strongest qualities as an artist: his interest in gender and his amused wit. Read more at the link in our bio.
Art works by Roy Lichtenstein / © Estate of Roy Lichtenstein / DACS 2026; by Roy Lichtenstein / © National Gallery of Art, Washington.
06 Nov 2026
A distinguished visitor—a real piece of work—is arriving in New York and staying on Madison Avenue. “Rome, from Mount Aventine,” an oil painting by J. M. W. Turner, measuring just over three feet by four feet, is currently showing in New York. In December, it will be up at auction, for an estimated $67 million. The painting is “an amalgam of the precise and the visionary, such as Turner alone could concoct,” Anthony Lane writes. The painting was disdained, by a critic in Blackwood’s as “a most unpleasant mixture, wherein white gambouge and raw sienna are, with childish execution, daubed together.” Still, the exorbitantly bright Turner work is drawing attention from a host of bidders—gallerists and billionaires alike. At the link in our bio, Anthony Lane traces the history and present-day movement of one of Turner’s last masterpieces still in private hands. Illustration by Ben Kothe (@benkothe) / The New Yorker; Source photographs from Getty.
05 Nov 2026
The editor of The New Yorker, David Remnick, discusses the Democratic victories of the midterm elections, and what they could mean going forward.
05 Nov 2026
“La Bola Negra,” a new film by Javier Ambrossi and Javier Calvo, dramatizes gay repression and liberation across three interconnected stories. At first, the year is 1937 and viewers are thrust deep into the Spanish Civil War, where a Nationalist soldier and a wounded Republican freedom fighter exchange furtive glances. By the end, it’s 2017, and a Madrid-based historian need only look to Grindr to satisfy an urge. The movie “wants to be a sweeping historical epic of gay longing—a film about what it means to be a man who desires other men in times of war and peace,” Justin Chang writes. Instead, the directors have produced “a film that insists, arrogantly and aggressively, on its own monumentality”. Even compelling performances from Glenn Close, Penélope Cruz, and Lola Dueñas fail to rescue the extravagantly overwrought film. Read Chang’s full review at the link in our bio. Photographs by Carla Oset / Netflix; from Everett.
05 Nov 2026
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