Articles

  • 4 days ago | newyorker.com | Richard Brody

    This magazine’s ongoing centenary celebration has included a cinematic component: a series at Film Forum, “Tales from The New Yorker,” which featured movies connected to The New Yorker’s history, whether because the source material was published here or because contributors to the magazine were involved with the movies in question.

  • 5 days ago | newyorker.com | Shauna Lyon |Richard Brody |Jennifer Wilson |Hua Hsu

    “Only in New York” may be a cliché, but only because it’s so true. For Goings On, in our New York-themed centenary issue, we asked staff writers to share some of their favorite spots that can be found . . . only in New York. These are places that are indelibly charming in their specificity—places that you never knew you needed but once you discover you’d be sad if they were gone—often thanks, especially, to the fascinating characters who created them and to the dedicated people who keep them running.

  • 1 week ago | newyorker.com | Richard Brody

    Sometimes there’s light at the end of the rabbit hole. When Josef von Sternberg’s film “The Devil Is a Woman,” from 1935, was recently screened, I was curious about how it was received in its first run and found a sharply perceptive review of it in the Times, by one Andre Sennwald, whom I’d never heard of.

  • 1 week ago | newyorker.com | Richard Brody

    The second season of “The Rehearsal” is instantly better than the first because it’s about something. In the show’s previous season, Nathan Fielder developed and applied his methodology—the so-called Fielder Method of role-playing amid elaborate simulations—to situations in which the participants’ investment was principally emotional and narrowly personal in scope. The new season starts with a bang: a simulated plane crash, which heralds Fielder’s main idea.

  • 1 week ago | newyorker.com | Richard Brody

    Rock documentaries and bio-pics have been parodied for nearly as long as they have existed, but there’s a reason for their ingrained absurdity that’s even weightier than fan service: music rights. Without the coöperation of musicians or of their estates, a music-centered movie risks ending up like Sofia Coppola’s “Priscilla” and John Ridley’s “Jimi: All Is by My Side,” deprived of the songs crucial to their stories. Hence, hagiography.

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