The New Yorker (June 10, 2024): The new issue‘s cover features Victoria Tentler-Krylov’s “Pawns in the Park” – The artist captures a corner of calm contemplation in the midst of New York’s hustle and bustle.
The truly disquieting thought was that the cult of personality around the Prime Minister had become suffocating and seemingly impossible to pierce—until now. By Isaac Chotiner
After Governor Kathy Hochul’s flip-flop on congestion pricing, a cop reconsiders his retirement while inching his Lexus through snarled-up traffic on the F.D.R.
The New Yorker (May 30, 2024): The new issue‘s cover features John Cuneo’s “A Man of Conviction” – The former President is found guilty on all thirty-four counts.
The jury has convicted the former President of thirty-four felony counts in his New York hush-money trial. Now the American people will decide to what extent they care.
When the Verdict Came In, Donald Trump’s Eyes Were Wide Open
In the courtroom with the former President at the moment he became a convicted felon.
The New Yorker (May 27, 2024): The new issue‘s cover features
Sergio García Sánchez’s “Scoot” – The artist depicts the thrill of leaning into summer in the city.
The People’s Commencement at Columbia
It’s 1968 all over again, as New York Ivy Leaguers flip the script and stage an unofficial counter-graduation ceremony at the Cathedral of St. John the Divine.
The Bronx Cheers—Mostly—for Trump
Biden’s a pedophile; Trump’s a fascist; the maga Hasidim have to get their act together—and other sentiments spewed at the former President’s rally in Crotona Park.
How to Pick Stocks Like You’re in Congress
The team at Autopilot, an app that lets you copy the trades of Nancy Pelosi’s husband (up forty-five per cent last year) or Dan Crenshaw (up forty-one), choose their newest offering.
The New Yorker (May 13, 2024): The new issue‘s cover featuresBarry Blitt’s “Class of 2024” – The campus tensions take center stage.
An Israeli Newspaper Presents Truths Readers May Prefer to Avoid
Haaretz consistently attempts to wrestle with the realities of what is going on in Israel, Gaza, and the West Bank.
By David Remnick
A British Nurse Was Found Guilty of Killing Seven Babies. Did She Do It?
Colleagues reportedly called Lucy Letby an “angel of death,” and the Prime Minister condemned her. But, in the rush to judgment, serious questions about the evidence were ignored.
The New Yorker (May 6, 2024): The new issue‘s cover featuresMark Ulriksen’s “Shotime” – For many fans, the real harbinger of spring is the beginning of baseball season.
The New Yorker (April 29, 2024): The new issue‘s cover featuresFaith Ringgold’s “Sonny’s Bridge, 1986” – The late artist’s work recalls her pioneering spirit through vivid, inventive designs.
Also: Kamasi Washington, “The Outsiders” reviewed, Bang on a Can’s Long Play Festival, and more.
The Return, Again, of the Power Lunch
Four Twenty Five, a luxe new dining room from the mega-restaurateur Jean-Georges Vongerichten, takes square aim at the expense-account crowd.
Donald Trump’s Sleepy, Sleazy Criminal Trial
The most striking aspect of the former President’s hush-money trial so far has been that, for the first time in a decade, Trump is struggling to command attention.
The New Yorker (April 15, 2024): The new issue‘s cover featuresAna Juan’s “Clickbait” – The artist captures the mesmerizing—and distracting—glow of modern entertainment.
Can the World Be Simulated?
Video-game engines were designed to closely mimic the mechanics of the real world. They’re now used for movies, TV shows, architecture, military trainings, virtual reality, and the metaverse.
The New Yorker (April 1, 2024): The new issue‘s cover features Pascal Campion’s “Into the Light” – The artist depicts stepping out of the subway into the overwhelming glow of the city.
When Leah started dating her first serious boyfriend, as a nineteen-year-old sophomore at Ohio State, she had very little sense that sex was supposed to feel good. (Leah is not her real name.) In the small town in central Ohio where she grew up, sex ed was basically like the version she remembered from the movie “Mean Girls”: “Don’t have sex, because you will get pregnant and die.”
It’s now thought that they could illuminate fundamental questions in physics, settle questions about Einstein’s theories, and even help explain the universe.
Black holes are, of course, awesome. But, for scientists, they are more awesome. If a rainbow is marvellous, then understanding how all the colors of the rainbow are present, unified, in ordinary white light—that’s more marvellous. (Though, famously, in his poem “Lamia,” John Keats disagreed, blaming “cold philosophy” for unweaving the rainbow.) In recent years, the amount of data that scientists have discovered about black holes has grown exponentially. In January, astronomers announced that the James Webb Space Telescope had observed the oldest black hole yet—one present when the universe was a mere four hundred million years old. (It’s estimated that it’s now 13.8 billion years old.) Recently, two supermassive black holes, with a combined mass of twenty-eight billion suns, were measured and shown to have been rotating tightly around each other, but not colliding, for the past three billion years. And those are just the examples that are easiest for the public to make some sense of. To me, a supermassive black hole sounds sublime; to a scientist, it can also be a test of wild hypotheses. “Astrophysics is an exercise in incredible experiments not runnable on Earth,” Avery Broderick, a theoretical physicist at the University of Waterloo and at the Perimeter Institute, told me. “And black holes are an ideal laboratory.”
The New Yorker (March 25, 2024): The new issue‘s cover featuresMark Ulriksen’s “Standing Guard” – The artist depicts the tail-wagging occasion of the first signs of spring.
“The Caring Hand,” by Eva Oertli and Beat Huber, is one of more than fifty sculptures at the new Freedom Monument Sculpture Park.Photographs by Kris Graves for The New Yorker
The civil-rights attorney has created a museum, a memorial, and, now, a sculpture park, indicting the city of Montgomery—a former capital of the domestic slave trade and the cradle of the Confederacy.
The National Monument to Freedom, in Montgomery, Alabama, is a giant book, standing forty-three feet high and a hundred and fifty feet wide. The book is propped wide open, and engraved on its surface are the names of more than a hundred and twenty thousand Black people, documented in the 1870 census, who were emancipated after the Civil War. On the spine of the book is a credo written for the dead:
Your children love you. The country you built must honor you. We acknowledge the tragedy of your enslavement. We commit to advancing freedom in your name.
What if building on the water could be safer and sturdier than building on flood-prone land?
In a corner of the Rijksmuseum hangs a seventeenth-century cityscape by the Dutch Golden Age painter Gerrit Berckheyde, “View of the Golden Bend in the Herengracht,” which depicts the construction of Baroque mansions along one of Amsterdam’s main canals. Handsome double-wide brick buildings line the Herengracht’s banks, their corniced façades reflected on the water’s surface. Interspersed among the new homes are spaces, like gaps in a young child’s smile, where vacant lots have yet to be developed.
News, Views and Reviews For The Intellectually Curious
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