The New Yorker · 实时热榜

I was powerful, graceful, and gorgeous.

The actor discusses Tom Cruise, the Coen brothers, and his lifelong quest to feel at ease in his own skin.

We fight our nervous energy—but maybe we misunderstand what it’s telling us.

Why do so many new films have plots and structures that make reviews a delicate dance of hints and secrets?

The author reads his story from the October 26, 2026, issue of the magazine.

Conan O’Brien, Min Jin Lee, Lorna Simpson, and more, plus what to do in Chelsea and the East Village.

Richard Darman was my source in the Reagan and Bush Administrations—and my best friend.

Undoing the Hindenburg disaster, and other romantic things to do on a time-travel date.

Members of the Democratic Socialists of America believe deeply in the possibility of a class revolution. Meanwhile, they’re running for office—and winning.

They power our phones, cars, dishwashers—and the A.I. systems that prop up the economy. They’re also at the heart of fierce geopolitical rivalry.

Alarm about declining interest in books is perpetual. But, as bookselling reaches unexpected heights, James Daunt, the chief executive of Barnes & Noble, thinks a different future is at hand.

Sometimes a person has to be bold and trust that the person he’s being bold to will rise to the occasion.

A new biography of the great director inspires wonder at his irresistible vision of America and his immigrant journey.

“Blockers,” “Exhibit G,” “Passengers,” and “Few and Far Between.”

A remarkable memoir recounts a writer’s struggles with alcoholism and religious faith—and the unsettling ways in which each has fed her longing for the other.

In his sweeping new novel, Chad Harbach studies the crisis of being a college student in 2015—and of being a writer trying to redeem realist fiction.

The Nobel Prize-winning poet made an art of being a regular.

CBS News’ editor-in-chief has pledged to “speak for the seventy-five per cent” of people on the center right and the center left; the reality is different.

Unlike Fielder’s past work, “You Can See Everything” isn’t very funny. Instead, the documentary, co-directed by Lance Oppenheim, is a haunting exploration of the limits of other people’s knowability.

With the opening of Faux, in Tribeca, Keith McNally’s son steps into the family business. Is it ambition or hubris?

“In the earliest version / by Perrault the story is finished / when the girl gets eaten.”

“I can’t remember how to reach / the end of my own sentences.”

One of the biggest failures of the post-#MeToo moment is our collective inability to provide a confident, humane account of sex as a basic good.

Rich Baris, a pollster supportive of the MAGA “big tent,” talks about how the President lost control of his movement, and why that spells disaster for Republicans.

Removing human drivers isn’t only a cost-cutting strategy; Waymo riders prefer the solitude, the New Yorker staff writer Molly Fischer says.

Fontaines D.C., a young quintet from Dublin, brings a raucous intelligence to its songs of oblivion.

But is anyone listening?

A drawing that riffs on the latest news and happenings.

A competitive House race in Miami, which leads all American cities in ICE arrests, has revealed how mass deportations have eroded the President’s support among Latinos.

The author discusses his story “Appeasement, Ohio.”

With the reissue of her 1974 novel “The Cosmopolitan Girl,” a gallery show, and a documentary screening, the renegade artist is everywhere this fall.

Wagner knows the special alchemy that can happen when you point a camera at a Black person on the street.

Game on.

A simple e-mail or kitchen appliance could send me into a pit of anxiety. The only way out, I learned, was in.

The ad agency M+C Saatchi has been working to boost tourism in the war-torn region. One of its inspo pics is Anthony Bourdain in sunglasses.

Fresh from playing the Cyclops in Christopher Nolan’s “The Odyssey,” the rubber-limbed actor chats about reviving and starring in Molière’s “The Imaginary Invalid” on Broadway.

The director stops by the Two Palms studio to sign prints of a list of his favorite New York movies—“Taxi Driver,” “Do the Right Thing,” and some you wouldn’t expect.

Wanda the Donkey regularly steals the show at the Met’s most popular production. Here’s an inside look at her creative process.

The cases of Christa Pike and Nidal Hasan show how vanishingly fine the line is between a routine execution and an unbearable one.

No one thinks Russian diesel can save the Republicans, so why is the President doing it?

A drawing that riffs on the latest news and happenings.

The viral “Hotel Lobby” meme, which lets users inhabit the bodies of Quavo and Takeoff using A.I., resembles a kind of digital blackface, but also speaks to a technology that makes appropriation the default.

Alex Gibney, the director of the new documentary “Musk,” on how the richest man in the world consolidated his power—and now wields it with abandon.

The former White House communications director reflects on his record for occupational brevity being broken.

A drawing that riffs on the latest news and happenings.

A drawing that riffs on the latest news and happenings.

Pierre Damas Bel was a twenty-year-old college student planning for his future. His family says that ICE monitoring made him lose hope.

The election could deliver a major victory for Democrats. What would that tell us about Trump’s hold on the country—and the Party hoping to succeed him?

In this Administration, former Ambassador Guilfoyle is the rare Trump associate to face consequences for misdeeds.

Jasper Nathaniel, an independent journalist who filmed the attack, describes the significant increase in West Bank violence on the eve of the Israeli election.