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Critics at Large | The New Yorker

The New Yorker
Critics at Large | The New Yorker
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  • Art in the Age of Artificial Intelligence
    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 BarthesNew 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
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  • I Need a Critic: October, 2025, Edition
    In the latest installment of the Critics at Large advice series, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz answer listeners’ questions about a range of conundrums. Some seek to immerse themselves in fictional worlds; others look for help with their own creative practices. Plus, the actor Morgan Spector (best known as Mr. Russell on “The Gilded Age”) calls in to ask the critics about poetry. “As always after we do this kind of show, my faith in humankind is restored,” Fry says. “Our listeners want to connect—they want to grow. They’re looking to pass through life not just on autopilot but to look to culture for meaning.”Read, watch, and listen with the critics:“Ethan Hawke: Give yourself permission to be creative” (TED)The poetry of Diane Seuss“Lilacs,” by Rainer Diana Hamilton“The Wire” (2002-8)“The Americans” (2013-18)“Billy Joel: And So It Goes” (2025)“The Good Wife” (2009-16)“30 Rock” (2006-13)“How a Billionaire Owner Brought Turmoil and Trouble to Sotheby’s,” by Sam Knight (The New Yorker)“Lupin” (2021—)“The First Wives Club” (1996)“A Quick Killing in Art,” by Phoebe Hoban“Where Have All My Deep Male Friendships Gone?” by Sam Graham-Felsen (the New York Times Magazine)Aaron Karo and Matt Ritter’s “Man of the Year”“The Archers” (1951—)“How to Cook a Wolf,” by M. F. K. Fisher“Home Cooking,” by Laurie Colwin“Fresh Air with Terry Gross”“What Was Paul Gauguin Looking For?,” by Alexandra Schwartz (The New Yorker)“Wild Thing,” by Sue Prideaux“Mr. Turner” (2014)“Topsy-Turvy” (1999)“The Work of Art: How Something Comes from Nothing,” by Adam MossSuzan-Lori Parks’s “Watch Me Work”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
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  • How the Trad Wife Took Over
    Scrutiny of the figure of the “trad wife” has hit a fever pitch. These influencers’ accounts feature kempt, feminine women embracing hyper-traditional roles in marriage and home-making—and, in doing so, garnering millions of followers. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss standout practitioners of the “trad” life style, including Nara Smith, who makes cereal and toothpaste from scratch, and Hannah Neeleman, who, posting under the handle @ballerinafarm, presents a life caring for eight children in rural Utah as a bucolic fantasy. The hosts also discuss “The Secret Lives of Mormon Wives,” a reality-television show on Hulu about a group of Mormon influencers engulfed in scandal, whose notions of female empowerment read as a quaint reversal of the trad-wife trend. A common defense of a life style that some would call regressive is that it’s a personal choice, devoid of political meaning. But this gloss is complicated by societal changes such as the erosion of women’s rights in America and skyrocketing child-care costs. “In American society, the way choice works has everything to do with child-care options, financial options,” Schwartz says. “When you talk about the idea of choice, are we just talking about false choices?” This episode originally aired on Sept. 5, 2024. Read, watch, and listen with the critics:@ballerinafarm@gwenthemilkmaid@naraazizasmith“How Lucky Blue and Nara Aziza Smith Made Viral Internet Fame From Scratch,” by Carrie Battan (GQ)“The Secret Lives of Mormon Wives” (2024–)@esteecwilliams“Mad Men” (2007-15)The Little House on the Prairie series, by Laura Ingalls Wilder“Wilder Women,” by Judith Thurman (The New Yorker)“Meet the Queen of the “Trad Wives” (and Her Eight Children),” by Megan Agnew (The Times of London) 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
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  • One Paul Thomas Anderson Film After Another
    Over the course of his three-decade career, the director Paul Thomas Anderson has dramatized the nineteen-seventies porn industry (“Boogie Nights”), the Californian oil boom (“There Will Be Blood”), and a mid-century London fashion house (“Phantom Thread”). Now he’s trained his gaze on present-day America. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss Anderson’s latest: the sprawling, surprisingly political blockbuster “One Battle After Another.” They contextualize the new work within his œuvre—and debate what his portrayal of militant left-wing activists and the white-supremacist right has to say about the state of the nation. “I think our present reality has far outstripped most depictions of it,” Schwartz says. “Slipping it into this kind of caper—is that delivering us to somewhere that gets people to think or to look or to feel?”Read, watch, and listen with the critics:“One Battle After Another” (2025)“Vineland,” by Thomas Pynchon“Inherent Vice” (2014)“Boogie Nights” (1997)“The Master” (2012)“Punch-Drunk Love” (2002)“There Will Be Blood” (2007)“Phantom Thread” (2017)“ ‘Eddington’ and the American Berserk” (The New Yorker)Gil Scott-Heron’s “The Revolution Will Not be Televised”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
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  • What's Cooking?
    In contemporary cookbooks—and in the burgeoning realm of online cooking content—there’s often a life style on display alongside the recipes. Samin Nosrat is a fixture of this landscape, and her new book, “Good Things,” aims to pick up where her mega-best-seller “Salt, Fat, Acid, Heat” left off, giving people a new framework for feeding themselves and loved ones. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz share their personal experiences making dishes from “Good Things.” Then, New Yorker staff writer Helen Rosner joins them to explain the state of home cooking today, from the rise of culinary influencers and the New York Times Cooking app to the aspirational dimension of what’s on offer. “Not only is cooking supposed to be part of a life, but, specifically, it can be a part of the life of the mind,” Cunningham says. “Your choices in the kitchen can be deeply connected to your desires outside of the kitchen.”Read, watch, and cook with the critics:“Tender at the Bone,” by Ruth Reichl“Heartburn,” by Nora Ephron“Good Things,” by Samin Nosrat“Salt, Fat, Acid, Heat,” by Samin Nosrat“The Joylessness of Cooking,” by Helen Rosner (The New Yorker)“All-Consuming,” by Ruby Tandoh@wishbonekitchen“Jerusalem,” by Yotam Ottolenghi“Ottolenghi Simple,” by Yotam Ottolenghi“Dining In,” by Alison Roman“Nothing Fancy,” by Alison Roman“Alison Roman Cooks Thanksgiving in a (Very) Small Kitchen” (The New York Times)“Let’s Party,” by Dan Pelosi“How to Cook Everything,” by Mark Bittman“Serial Monogamy,” by Nora Ephron (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 po… Learn about your ad choices: dovetail.prx.org/ad-choices
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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.
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