All Episodes
Critics at Large | The New Yorker — 137 episodes
The Golden Age of the American Idiot
Who Owns the Odyssey?
An American Playlist
From The Political Scene: The Politics of the Big Game
Steven Spielberg’s Blockbusters
Why We Cling to the Animal Kingdom
I Need a Critic: June, 2026, Edition
Our Modern Glut of Choice
Where Do Men Go from Here?
How Romantasy Seduces Its Readers
The Met Gala, “The Devil Wears Prada 2,” and the State of Style
What “Michael” Tries to Show—or Hide
Why Earnestness is Everywhere
“Beef,” “The Drama,” and the New Marriage Plot
The Guilty Pleasure of the Heist
“DTF St. Louis” and the New Story of the Suburbs
The Soft Power of BTS
“Love Story” and Why We Cling to the Kennedy Myth
The Hall of Fame—and of Shame—of Oscars Hosts
Critics at Large Live: “Wuthering Heights” and Its Afterlives
The Truth of Toni Morrison
Charli XCX Misses the Moment
“Heated Rivalry,” “Pillion,” and the New Drama of the Closet
I Need a Critic: One-Hundredth-Episode Edition
Why Football Matters
Do We Need Saints?
Our Romance with Jane Austen
The Year of the Broken Mirror
“Wake Up Dead Man” and the Whodunnit Renaissance
Does “Hamlet” Need a Backstory?
After “Wicked,” What Do We Want from the Musical?
In “Pluribus,” Utopia Isn’t All It’s Cracked Up to Be
The Guilty Pleasure of the Heist
Critics at Large Live: Padma Lakshmi’s Expansive Taste
Why Horror Still Haunts Us
In the Dark: Blood Relatives, Episode 1
Art in the Age of Artificial Intelligence
I Need a Critic: October, 2025, Edition
How the Trad Wife Took Over
One Paul Thomas Anderson Film After Another
What's Cooking?
“The Paper,” “The Lowdown,” and the Drama of Journalism
Why We're All In on Gambling
Our Fads, Ourselves
How to Watch a Movie
Les Américains à Paris
How Zohran Mamdani Became the Main Character of New York City
Late Night's Last Laugh
“Eddington” and the American Berserk
“Materialists,” “Too Much,” and the Modern Rom-Com
Why We Travel
The Diva Is Dead, Long Live the Diva
Why We Turn Grief Into Art
Our Romance with Jane Austen
“Mountainhead” and the Age of the Pathetic Billionaire
Lessons from “Sesame Street”
EThe Season for Obsessions
The Grand Spectacle of Pope Week
I Need a Critic: May 2025 Edition
How “Sinners” Revives the Vampire
War Movies: What Are They Good For?
“The Studio” Pokes Fun at Hollywood’s Existential Struggle
Gossip, Then and Now
Joe Rogan, Hasan Piker, and the Art of the Hang
Critics at Large Live: The Right to Get It Wrong
Our Modern Glut of Choice
How “The Pitt” Diagnoses America's Ills
In “Severance,” the Gothic Double Lives On
The Staying Power of the “S.N.L.” Machine
How Romantasy Seduces Its Readers
David Lynch’s Unsolvable Puzzles
The Splendor of Nature, Now Streaming
The New Western Gold Rush
The Elusive Promise of the First Person
Hayao Miyazaki’s Magical Realms
Critics at Large Live: The Year of the Flop
After “Wicked,” What Do We Want from the Musical?
The Modern-Day Fight for Ancient Rome
Will Kids Online, In Fact, Be All Right?
The Value—and Limits—of Seeking Comfort in Art
Critics at Large Live: Julio Torres’s Dreamy Surrealism
Help, I Need a Critic!
A Controversial Trump Bio-pic and the Villains We Make
“The Substance” and the New Horror of the Modified Body
The Fate of the Finance Bro
Sally Rooney’s Beautiful Deceptions
Was Abraham Lincoln Gay . . . And Should We Care?
The Trap of the Trad Wife
Tarot, Tech, and Our Age of Magical Thinking
The Irresistible Myth of Las Vegas
Charli XCX, Chappell Roan, and the Unstable Hierarchy of Pop
Why We Want What Tom Ripley Has
The Kamala Harris Vibe Shift
From Vanity Fair’s “Dynasty”: Can Harry and Meghan’s Hollywood Dream Last?
Alice Munro’s Fall from Grace
The Changing World of Nature Documentaries
From The New Yorker Radio Hour: Emily Nussbaum on the Beginnings of Reality TV
Summer Obsessions
The Therapy Episode
Is Travel Broken?
The Many Faces of the Hit Man
The Rising Tide of Slowness
The New Midlife Crisis
Kendrick Lamar, Drake, and the Benefits of Beef
EOur Collective Obsession with True Crime
Why the Sports Movie Always Wins
“Civil War” ’s Unsettling Images
“Curb Your Enthusiasm” and the Art of the Finale
Why We Want What Tom Ripley Has
Kate Middleton and the Internet’s Communal Fictions
Is Science Fiction the New Realism?
The New Coming-of-Age Story
Why We Love an Office Drama
EThe Politics of the Oscar Race
How Usher, Beyoncé, and Taylor Swift Build Their Own Legacies
The Painful Pleasure of “Wretched Love”
EWhy We Can’t Quit the Mean Girl
From In the Dark: The Runaway Princesses
What Is the Comic For?
EThe Case for Criticism
Can Slowness Save Us?
Portraits of the Artist
From The New Yorker Radio Hour: a Conversation with Dolly Parton
The Year of the Doll
EGeorge Santos and the Art of the Scam
Hayao Miyazaki’s Magical Realms
The Past, Present, and Future of the Period Drama
ESamantha Irby Knows How to Be Funny
EIs “The Golden Bachelor” Too Good to Be True?
Why We Dine Out (or Don’t)
Britney Spears Tells Her Horror Story
Martin Scorsese’s America
Are Straight Couples O.K.?
Spies, Sex, and John le Carré
Taylor Swift Is Everywhere All at Once
The Myth-Making of Elon Musk
What Is Cringecore, and Why Is It Everywhere?