The New Yorker Culture

The filmmaker’s first feature in six years turns a love triangle in Anchorage into a philosophical experiment.

Recommended reading for anyone who wears underwear.

The company, which has a hundred and thirty thousand cameras monitoring the streets of the U.S., frames privacy as a worthwhile trade-off for safety and security, echoing the language of the post-9/11 surveillance boom.

In Brian Dillon’s bewitching new book, “Ambivalence: An Education,” the author’s younger self is depicted as an inscrutable, fumbling figure named B.

Anthropic is trying to “destructively scan all the books in the world.” How worried should we be?

In a new story collection, the actor and comedian injects a refreshing breeziness into a discourse that can lean toward self-seriousness.

In his new book, “Birth of a Culture,” the trailblazing d.j. tells his version of how it all began.

With “Food Is a Feeling,” the cookbook author joins a lineage of writers who have explored the appetites of the newly unmarried.

Nate Amos writes songs that both embrace and lampoon dusty singer-songwriter tropes.

Commuter couture.

“The Breakup,” “All Them Dogs,” “Sex and Dissent,” and “We Want to Believe.”

How striving, self-invention, and charm became a national style.

The first major show of the artist’s drawings articulates his pain and anger and the frightful era he lived in.

The feminist icon understood that you may spend your whole life walking toward a world you will never enter, but that does not relieve you of the obligation to walk.

A food critic answers readers’ questions about a citrus-related relationship dispute and restaurant birthday dinners.

Oberlin’s football team was winless last season, sparking discourse over whether anyone at the small liberal-arts school should care.

There comes a moment, looking at the artist’s dense worlds, in a new exhibit at the Whitney, when the eye stops decoding and the mind begins to surrender.

It’s perhaps the most famous textile in the world. But getting it to England required years of diplomacy, a horde of engineers, and a touch of kindness from the French.

Jerry Hsu captures the city’s manic extremes, with photographs of overturned cars, collisions, and a bank building ablaze.

The promise of “Famous Last Words”—which just released its Gloria Steinem episode—is that the show’s subjects can finally speak freely, knowing that the interview won’t come out until they’ve died.