You’re reading The New Yorker’s daily newsletter, a guide to our top stories, featuring exclusive insights from our writers ...

Holy happy trail, Batman!” Stephen Colbert enthused, over an en-plein-air portrait of a shirtless and beaming Luigi Mangione, ...

The Brutalist,” the director’s nearly four-hour study of immigration, identity, and marriage, flowed from his own struggle to ...

The Criterion Channel, the foremost moveable source for art-house and repertory cinema, thrillingly expands its offerings ...

It’s a big and bitter surprise to discover that Marielle Heller’s new film, “Nightbitch,” is, for the most part, excruciating ...

The family members regularly break into impressively harmonized, Osmond-family-level carol arrangements that they’ve clearly ...

Follow @newyorkercartoons on Instagram and sign up for the Daily Humor newsletter for more funny stuff.

On Chris Wray’s self-defenestration and the dilemma of being on the pugilistic President-elect’s target list.

Caroline Blackwood inspired paintings by Lucian Freud and poetry by Robert Lowell. Her own work has been unjustly forgotten.

In a whirligig forty-two minutes, Carax combines his spectacular cinematic ambitions and his singular sense of style with ...

Nikki Giovanni died this week, at the age of eighty-one, as that rarest of things: a best-selling poet. Her work burst onto ...

Since then, as the war intensified, the prison became, by all accounts, even more terrible. In 2021, the Syrian Observatory ...