The Irishman and the Empty Man: The Biden Years On-Screen, Part One
In the first installment of a quarterly series, Brendan Boyle and Adam Nayman use two films as a lens on the Biden years.
In the first installment of a quarterly series, Brendan Boyle and Adam Nayman use two films as a lens on the Biden years.
Kate Wolf and Medaya Ocher are joined by Deborah Treisman to discuss The New Yorker’s new anthology of short stories, “A Century of Fiction in The New Yorker, 1925-2025.”
Philip Sorenson reviews Laura Henriksen’s “Laura’s Desires.”
Romy Rajan considers Payal Kapadia’s new film “All We Imagine as Light.”
In the seventh essay in the Legacies of Eugenics series, Lily Hu asks whether the racialist and eugenicist roots of statistics can be cordoned off from “proper” science.
On the 10th anniversary of its release, Vrinda Jagota revisits Rupi Kaur’s “milk and honey.”
Dorie Chevlen attends “Memoryhouse,” an abstract, cinematic performance that still managed to dance around comparisons to contemporary injustices.
Peter B. Kaufman argues that video has become our dominant cultural medium, yet we lack reliable archives for the audiovisual record.
Joshua Glick explores how Robert Zemeckis’s unsatisfying dependence on AI in “Here” reflects the state of our culture.
Rose Higham-Stainton reviews the reissue of Claire-Louise Bennett’s “Fish out of Water.”
Kendra Sullivan reviews Chris Campanioni’s “Windows 85.”
Mary Turfah writes on Lebanon and broken glass in an online release from the LARB Quarterly issue no. 44, “Pressure.”
Will Gottsegen considers what is lost in Spotify’s era of pandering recommendation.
Valentina Polcini reviews Dino Buzzati’s “The Bewitched Bourgeois: Fifty Stories.”
As Sudanese civilians endure the world’s biggest displacement and humanitarian crises, uprooted political analyst Dallia Abdelmoniem unpacks the genocidal war in her country.
Eric Newman speaks with Colette Shade about her book “Y2K: How the 2000s Became Everything.”