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30/10/2025

Why Horror Still Haunts Us

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 which 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

30/10/2025

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52 min
19/12/2024

Critics at Large Live: The Year of the Flop

This year, high-profile failures abounded. Take, for example, Francis Ford Coppola’s passion project “Megalopolis,” which cost a hundred and forty million dollars to make—and brought in less than ten per cent of that at the box office. And what was Kamala Harris’s loss to Donald Trump but a fiasco of the highest order? On this episode of Critics at Large, recorded live at Condé Nast’s offices at One World Trade Center, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz pronounce 2024 “the year of the flop,” and draw on a range of recent examples—from the Yankees’ disappointing performance at the World Series to Katy Perry’s near-universally mocked music video for “Woman’s World”—to anatomize the phenomenon. What are the constituent parts of a flop, and what might these missteps reveal about the relationship between audiences and public figures today? The hosts also consider the surprising upsides to such categorical failures. “In some ways, always succeeding for an artist is a problem . . . because I think you retain fear,” Schwartz says. “If you can get through it, there really can be something on the other side.” Read, watch, and listen with the critics: HBO’s “Industry” (2020–) The 2024 World SeriesThe 2024 Election“Megalopolis” (2024)“Woman’s World,” by Katy Perry“ ‘Woman’s World’ Track Review,” by Shaad D’Souza (Pitchfork)“Charli XCX, Chappell Roan, and the Unstable Hierarchy of Pop” (The New Yorker)“Tarot, Tech, and Our Age of Magical Thinking” (The New Yorker)“Kendrick Lamar, Drake, and the Benefits of Beef” (The New Yorker)“Am I Racist?” (2024)“Horizon: An American Saga—Chapter 1” (2024)“Apocalypse Now” (1979)“Madame Web” (2024)“The Great Gatsby,” by F. Scott FitzgeraldFugees“Moby-Dick,” by Herman Melville“NYC Prep” (2009)“Princesses: Long Island” (2013) New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices

19/12/2024

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46 min
15/05/2025

The Grand Spectacle of Pope Week

In the weeks since Pope Francis’s passing, the internet has been flooded by papal memes, election analysis, and even close readings of the newly appointed Pope Leo XIV’s own posts. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz consider why the moment has so captivated Catholics and nonbelievers alike. They discuss the online response and hear from the writer Paul Elie, who’s been covering the event on the ground at the Vatican for The New Yorker. Then the hosts consider how recent cultural offerings, from last year’s “Conclave” to the HBO series “The Young Pope,” depict the power and pageantry of the Church, with varying degrees of reverence. Leo XIV’s first address as Pope began with a message of peace—an act that may have contributed to the flurry of interest and excitement around him. “The signs are hopeful,” Cunningham says. “And reasons to hope attract attention.” Read, watch, and listen with the critics: “Francis, the TV Pope, Takes His Final Journey,” by Vinson Cunningham (The New Yorker)“White smoke, Black pope?,” by Nate Tinner Williams (The National Catholic Reporter)“The First American Pope,” by Paul Elie (The New Yorker)“Brideshead Revisited,” by Evelyn Waugh“Conclave” (2024)“Angels & Demons” (2009)“The Young Pope” (2016)“The Two Popes” (2019)Pope Leo XIII’s “Rerum Novarum” New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices

15/05/2025

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45 min
03/07/2025

Why We Travel

It’s a confusing time to travel. Tourism is projected to hit record-breaking levels this year, and its toll on the culture and ecosystems of popular vacation spots is increasingly hard to ignore. Social media pushes hoards to places unable to withstand the traffic, while the rise of “last-chance” travel—the rush to see melting glaciers or deteriorating coral reefs before they’re gone forever—has turned the precarity of these destinations into a selling point. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz explore the question of why we travel. They trace the rich history of travel narratives, from the memoirs of Marco Polo and nineteenth-century accounts of the Grand Tour to shows like Anthony Bourdain’s “Parts Unknown” and HBO’s “The White Lotus.” Why are we compelled to pack a bag and set off, given the growing number of reasons not to do so? “One thing that’s really important for me as a traveller is the experience of being foreign,” Schwartz says. “I’m starting to realize that there are places I may never go, and this has actually made other people’s accounts of them, in the deeper sense, more important.” This episode originally aired on June 13, 2024. Read, watch, and listen with the critics: “The New Tourist,” by Paige McClanahan The “Lonely Planet” guidebooks “The Travels of Marco Polo,” by Rustichello da Pisa “Of Travel,” by Francis Bacon “The Innocents Abroad,” by Mark Twain “Self-Reliance,” by Ralph Waldo Emerson “Travels through France and Italy,” by Tobias Smollett “Anthony Bourdain: Parts Unknown” (2013-18) “The White Lotus” (2021—) “Conan O’Brien Must Go” (2024) “It Just Got Easier to Visit a Vanishing Glacier. Is That a Good Thing?,” by Paige McClanahan (The New York Times) “The New Luxury Vacation: Being Dumped in the Middle of Nowhere,” by Ed Caesar (The New Yorker) 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

03/07/2025

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47 min
26/12/2024

Hayao Miyazaki’s Magical Realms

Margaret Talbot, writing in The New Yorker in 2005, recounted that when animators at Pixar got stuck on a project they’d file into a screening room to watch a film by Hayao Miyazaki. Best known for works like “My Neighbor Totoro,” “Princess Mononoke,” and “Spirited Away,” which received the Academy Award for Best Animated Feature, in 2002, he is considered by some to be the first true auteur of children’s entertainment. On this episode of Critics at Large, the staff writers Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss the themes that have emerged across Miyazaki’s œuvre, from bittersweet depictions of late childhood to meditations on the attractions and dangers of technology. Miyazaki’s latest, “The Boy and the Heron,” is a semi-autobiographical story in which a young boy grieving his mother embarks on a quest through a magical realm as the Second World War rages in reality. The Japanese title, “How Do You Live?,” reveals the philosophical underpinnings of what may well be the filmmaker’s final work. “Wherever you are—whether it seems to be peaceful, whether things are scary—there’s something happening somewhere,” Cunningham says. “And you have to learn this as a child. There’s pain somewhere. And you have to learn how to live your life along multiple tracks.” Read, watch, and listen with the critics: “Kiki’s Delivery Service” (1989)“My Neighbor Totoro” (1988)“Old Enough!” (1991-present)“Princess Mononoke” (1997)“Spirited Away” (2001)“The Boy and the Heron” (2023)“The Lion, the Witch and the Wardrobe” by C. S. Lewis (1950)“The Moomins series” by Tove Jansson (1945-70)“The Wind Rises” (2013) New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. This episode originally aired on December 7, 2023. Learn about your ad choices: dovetail.prx.org/ad-choices

26/12/2024

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45 min
22/05/2025

How Experts Became the Enemy

The Northwestern history professor and New Yorker contributor Daniel Immerwahr joins Tyler Foggatt to discuss the ways in which the COVID crisis deepened Americans’ distrust of institutional experts and propelled R.F.K., Jr., to the height of political power in the Trump Administration. Plus, they talk about how Anthony Fauci’s clashes and eventual reconciliation with AIDS activists in the nineteen-eighties and nineties could serve as a guide to repairing the rift between Americans who are skeptical of experts and the officials who set public-health policy today. This week’s reading: “R.F.K., Jr., Anthony Fauci, and the Revolt Against Expertise,” by Daniel Immerwahr “Who Gets to Be an American?,” by Michael Luo “The Stakes of the Birthright-Citizenship Case,” by Ruth Marcus “Donald Trump’s Culture of Corruption,” by Isaac Chotiner “The Mideast Is Donald Trump’s Safe Place,” by Susan B. Glasser Tune in to The Political Scene wherever you get your podcasts. To discover more podcasts from The New Yorker, visit newyorker.com/podcasts. To send feedback on this episode, write to themail@newyorker.com. Learn about your ad choices: dovetail.prx.org/ad-choices

22/05/2025

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41 min
23 FEB

How Tucker Carlson Became the Prophet of MAGA

Tucker Carlson has long been a standard-bearer for far-right views, such as the racist conspiracy theory known as the “great replacement.” He recently did a chatty interview with the white supremacist Nick Fuentes, an admirer of Hitler. And yet, Carlson started out as a respected, well-connected, albeit contrarian, political journalist. Jason Zengerle, who recently joined The New Yorker as a staff writer, talks with David Remnick about his new book, “Hated by All the Right People: Tucker Carlson and the Unraveling of the Conservative Mind.” They trace how Carlson’s sense of personal resentment toward the establishment grew; how launching his own website radicalized his politics in the years before MAGA; and his political ambitions as a potential heir to Donald Trump. “I think, if Tucker Carlson concludes that J. D. Vance can’t get elected President, maybe he has to do it himself,” Zengerle says. “So much of politics now is just being a media figure and being an entertainer. And Tucker does those things very well. . . . I think our politics are at a place where that really doesn’t seem as outrageous as it would have even just a couple years ago.” This segment originally aired on January 23, 2025. The Political Scene draws on the reporting and analysis found in The New Yorker for lively conversations about the big questions in American politics. Join the magazine’s writers and editors as they put into context the latest news—about elections, the economy, the White House, the Supreme Court, and much more. New episodes are available three times a week. Tune in to The Political Scene wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices

23 Feb

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27 min
22/08/2025

Is Trump the Roman Tyrant America's Founders Feared?

The Washington Roundtable speaks with Jeffrey Rosen, the president and C.E.O. of the National Constitution Center, a nonpartisan nonprofit, about how America’s founders tried to tyrant-proof their constitutional system, how Donald Trump’s whim-based decision-making resembles that of the dictator Julius Caesar, and what we can learn from the fall of the Roman Republic. Plus, how the Supreme Court is responding to the Trump Administration’s broad claims of executive power. Rosen, a professor at George Washington University Law School, hosts the “We the People” podcast and is the author of “The Pursuit of Happiness: How Classical Writers on Virtue Inspired the Lives of the Founders and Defined America.” This episode originally aired on March 7th, 2025 The Political Scene draws on the reporting and analysis found in The New Yorker for lively conversations about the big questions in American politics. Join the magazine’s writers and editors as they put into context the latest news—about elections, the economy, the White House, the Supreme Court, and much more. New episodes are available three times a week. Learn about your ad choices: dovetail.prx.org/ad-choices

22/08/2025

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34 min
4 MAR

The Washington Roundtable on the Iran War

The Washington Roundtable discusses the war that the United States and Israel have started with Iran, how the conflict might evolve and affect the whole region, and the Trump Administration’s rationale for launching the strikes. “I don’t think we have yet heard a clear explanation of what this war is about, what they intend to achieve, what the strategic goals are, and how it’s supposed to end,” the staff writer Jane Mayer says. The group also reflects on the lessons that they learned while reporting on the Iraq War about how conflicts such as these can transform societies. This week’s reading: “Can Donald Trump Win a War with Iran If He Can’t Explain Why He Started It?,” by Susan B. Glasser “Do U.S. Presidents Have the Power to Declare War?,” by Jill Lepore “In the Texas Primaries, a Good Night for James Talarico, and a Bad One for John Cornyn,” by Benjamin Wallace-Wells “What Ayatollah Ali Khamenei Meant to Iran, and What Comes Next,” by Robin Wright “Has Trump Thought Through the Endgame in Iran?,” by Ishaan Tharoor To discover more podcasts from The New Yorker, visit newyorker.com/podcasts. To send in feedback on this episode, write to themail@newyorker.com with “The Political Scene” in the subject line. Tune in to The Political Scene wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices

4 Mar

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45 min
14/07/2025

Janet Yellen on the Danger of a “Banana Republic” Economy

In conservative economics, cuts to social services are often seen as necessary to shrink the expanding deficit. Donald Trump’s budget bill is something altogether different: it cuts Medicaid while slashing tax rates for the wealthiest Americans, adding $6 trillion to the national debt, according to the Cato Institute. Janet Yellen, a former Treasury Secretary and former chair of the Federal Reserve, sees severe impacts in store for average Americans: “What this is going to do is to raise interest rates even more. And so housing will become less affordable, car loans less affordable,” she tells David Remnick. “This bill also contains changes that raise the burdens of anyone who has already taken on student debt. And with higher interest rates, further education—college [and] professional school—becomes less affordable. It may also curtail investment spending, which has a negative impact on growth.” This, she believes, is why the President is desperate to lower interest rates; he has spoken of firing his appointed chair of the Federal Reserve, Jerome Powell, whom he has called a “numbskull” and a “stupid person,” and installing a more compliant chair. But lowering interest rates to further political goals, Yellen says, “are the words one expects from the head of a banana republic that is about to start printing money to fund fiscal deficits. … And then you get very high inflation or hyperinflation.” The Political Scene draws on the reporting and analysis found in The New Yorker for lively conversations about the big questions in American politics. Join the magazine’s writers and editors as they put into context the latest news—about elections, the economy, the White House, the Supreme Court, and much more. New episodes are available three times a week. Learn about your ad choices: dovetail.prx.org/ad-choices

14/07/2025

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23 min

Politics, culture, fiction, and more from The New Yorker.