Books & Culture

The economist was fixated on subconscious knowledge and dreamlike enchantment—even if he denied their part in his relationships.

The actor and director, whose film “Horizon: An American Saga” has been in the making for decades, thinks of the Western as America’s Shakespeare.

Appeals against the war in Gaza are often framed through the lens of the future: “You will regret having been silent.” What about speaking—and feeling—in the present tense?

The fashion icon is still starring in the story of her life, dispensing wisdom on our age of prudishness, the “three types of women,” and why “only losers don’t feel like losers.”

“Consent,” by Jill Ciment, and “Change,” by Édouard Louis, revisit the past with an eye for distortion and error.

In “Long Island Compromise,” wealth is a curse. Or is that just what we’d like to think?

“The Silence of the Choir,” “In Tongues,” “Woman of Interest,” and “The Museum of Other People.”

Ronan Farrow, Jia Tolentino, and other New Yorker writers on the classic books that changed their lives.

The French director Catherine Breillat’s new film, a fiercely antagonistic tale of an incestuous affair, is both a long-delayed return to work and an artistic self-renewal.

At the midway point of the year, the film critic discusses his top three pictures.

In unfurling the story of a boy who becomes a killer, a lover, and a singer, the German director Angela Schanelec continues to move to her own inimitable beat.

The playwright Annie Baker’s first feature conceals its depth of experience under a narrow array of details.

Recently reopened under new management, the pricey tourist-bait canteen is more satisfying than it has any right to be.

In a dinner series called the Line Up, line cooks, sous-chefs, and chefs de cuisine from buzzy New York restaurants get to be executive chefs for a night.

If a self-consciously clubby restaurant suddenly becomes easy to get into, what’s the point of going at all?

Kisa is a brand-new spot on the Lower East Side that does an astonishingly good job of seeming like it’s been there forever.

The FX series about the fallout from a leaked recording of the Los Angeles Clippers’ owner is extremely entertaining, especially if you are not hoping to learn anything about race.

The Hulu series about a Chicago sandwich joint once felt like the best kind of prestige TV—but the new season, like its Michelin-hungry protagonist, has lost sight of what made it great.

A new HBO documentary series follows King George, the eighty-six-year-old overlord of the Texas Renaissance Festival, and the vicious competition to replace him.

Through an uncanny hybrid of access journalism and fourth-wall breaking, the comedian created an HBO series that was impossible to look away from.

The directors Zhailon Levingston and Bill Rauch cross Andrew Lloyd Webber’s juggernaut musical with queer ballroom culture to electrifying effect.

The British playwright Lucy Kirkwood’s “The Welkin” exorcises the jury-room drama.

Samm-Art Williams’s “Home,” on Broadway, and Shayan Lotfi’s “What Became of Us,” at Atlantic Theatre Company, portray the politics and the emotions of leaving home.

Superb stagecraft illuminates Robert Icke’s “Player Kings,” Benedict Andrews’s “The Cherry Orchard,” and Ian Rickson’s “London Tide.”

“Regional Mexican” music is booming, but one young singer is in no mood to celebrate.

The fourteenth-century composer’s expressions of longing can still leave an audience spellbound.

The artist, who got famous by going viral, discusses refusing to play the TikTok game with her new record, turning to a life of slowness and privacy, and maybe auditioning for a musical.

The artist has often treated pop music as a game—something to play with so she doesn’t get bored, and something that reliably creates winners and losers.