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Page de couverture de Critics at Large | The New Yorker

Critics at Large | The New Yorker

Critics at Large | The New Yorker

Auteur(s): The New Yorker
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Critics at Large is a weekly culture podcast from The New Yorker. Every Thursday, the staff writers Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss current obsessions, classic texts they’re revisiting with fresh eyes, and trends that are emerging across books, television, film, and more. The show runs the gamut of the arts and pop culture, with lively, surprising conversations about everything from Salman Rushdie to “The Real Housewives.” Through rigorous analysis and behind-the-scenes insights into The New Yorker’s reporting, the magazine’s critics help listeners make sense of our moment—and how we got here.

Condé Nast 2023
Sciences sociales
Épisodes
  • Why Horror Still Haunts Us
    Oct 30 2025

    Horror movies are big business: this year, they’ve accounted for more ticket sales in the U.S. than comedies and dramas combined, bringing in over a billion dollars at the box office. And the phenomenon goes beyond a hunger for cheap thrills and slasher flicks; artists have been using horror to explore deep-seated communal and personal anxieties for centuries. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz, along with the New Yorker culture editor Alex Barasch, use three contemporary entries—“The Babadook,” “Saint Maud,” and “Weapons”—to illustrate the inventive filmmaking and sharp social commentary that have become hallmarks of modern horror. “In the past, the horror would be something external that’s disrupting a previously idyllic town or life. Now there's a lot more of: the bad thing has already happened to you,” Barasch says. “You already have a trauma at the beginning of the film—or even before the film begins—and then that is eating you from the inside, or trying to kill you, and you have to grapple with that.”

    Read, watch, and listen with the critics:

    “The Babadook” (2014)
    “Rosemary’s Baby” (1968)
    Scream with Me,” by Eleanor Johnson
    “Hereditary” (2018)
    “The Substance” (2024)
    “Saint Maud” (2020)
    The “Saw” franchise (2004—)
    “The Exorcist” (1973)
    The Case Against the Trauma Plot,” by Parul Sehgal (The New Yorker)
    “Weapons” (2025)
    “Barbarian” (2022)
    “The Texas Chainsaw Massacre” (1974)
    “Get Out” (2017)
    “Alien” (1979)
    “The Blair Witch Project” (1999)
    “Talk to Me” (2022)

    New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.


    Critics at Large is a weekly discussion from The New Yorker that explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture.

    Learn about your ad choices: dovetail.prx.org/ad-choices
    Voir plus Voir moins
    52 min
  • In the Dark: Blood Relatives, Episode 1
    Oct 28 2025

    On August 7, 1985, five family members were shot dead in their English country manor, Whitehouse Farm. It looked like an open-and-shut case. But the New Yorker staff writer Heidi Blake finds that almost nothing about this story is as it seems.

    New Yorker subscribers get early, ad-free access to “Blood Relatives.” In Apple Podcasts, tap the link at the top of the feed to subscribe or link an existing subscription. Or visit newyorker.com/dark to subscribe and listen in the New Yorker app.


    In the Dark has merch! Buy specially designed hats, T-shirts, and totes for yourself or a loved one at store.newyorker.com.

    Learn about your ad choices: dovetail.prx.org/ad-choices
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    46 min
  • Art in the Age of Artificial Intelligence
    Oct 23 2025

    Generative A.I., once an uncanny novelty, is now being used to create not only images and videos but entire “artists.” Its boosters claim that the technology is merely a tool to facilitate human creativity; the major use cases we’ve seen thus far—and the money being poured into these projects—tell a different story. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss the output of Timbaland’s A.I. rapper TaTa Taktumi and the synthetic actress Tilly Norwood. They also look back at movies and television that imagined what our age of A.I. would look like, from “2001: A Space Odyssey” onward. “A.I. has been a source of fascination, of terror, of appeal,” Schwartz says. “It’s the human id in virtual form—at least in human-made art.”

    Read, watch, and listen with the critics:

    TaTa Taktumi’s “Glitch x Pulse
    Cardi B’s “Am I the Drama?”
    “Pop Star Academy: KATSEYE” (2024)
    Dear Tilly Norwood,” by Betty Gilpin (The Hollywood Reporter)
    Tilly Norwood’s Instagram account
    Holly Herndon’s Infinite Art,” by Anna Wiener (The New Yorker)
    “2001: A Space Odyssey” (1968)
    “The Morning Show” (2019—)
    “Simone” (2002)
    “Blade Runner” (1982)
    “Ex Machina” (2014)
    The Man Who Sells Unsellable New York Apartments,” by Alexandra Schwartz (The New Yorker)
    The Work of Art in the Age of Mechanical Reproduction,” by Walter Benjamin
    The Death of the Author,” by Roland Barthes

    New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.


    Critics at Large is a weekly discussion from The New Yorker that explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture.

    Learn about your ad choices: dovetail.prx.org/ad-choices
    Voir plus Voir moins
    51 min
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