#the-new-yorker

#the-new-yorker

Film criticism can recommend against enjoyment, emphasizing subjective analysis over outright discouragement from viewing.

The New Yorker breaks its rule and highlights the crucial, yet often unrecognized, role of editors.

Skycoin founder Brandon Smietana demands a public apology and retraction from The New Yorker for false claims made in a 2021 article.

Jennifer Egan analyzes Margaret Atwood's 'Kat,' highlighting its character depth and thematic richness.

Erotic thrillers intertwine danger and sex, with plots often exaggerated to justify sexual content.

The New Yorker art team faced unexpected challenges creating a cover for the November 18 issue due to the surprising election outcomes.

Lore Segal's writing reflects her Jewish refugee experience and embodies a unique blend of seriousness and humor throughout her 63-year career.

The New Yorker endorsed Kamala Harris's presidential bid, marking a significant media pivot amidst Biden's faltering debate performances.

The New Yorker’s Interactives Department released an interactive documentary, "Cleared by Fire," focused on the Haditha incident.

Comedy involves a mix of emotional truth and exaggeration, as elaborated by Hasan Minhaj.

Minhaj experienced significant backlash from the media and internet, which affected his career opportunities.

His storytelling methods include both real events and creative interpretations.

The song of the summer is defined by its involuntary presence in collective listening experiences rather than personal preference.

Nell Freudenberger is a renowned author with multiple fiction works, notably included in The New Yorker's '20 Under 40' Fiction Issue in 2010.

Joseph Mitchell, a renowned writer at The New Yorker, was captured in 1971 facing the Twin Towers, symbolizing his emotional transition and connection to the changing cityscape.

Mitchell's deep emotional response to commonplace images signaled a profound shift in his perception and appreciation of the city's vanishing landscapes.