Critics at Large | The New Yorker

The New Yorker 147 - Introducing: “The Journey,” from In the Dark

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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20 sep. 2026

17 sep. 2026

03 sep. 2026

27 ago. 2026

20 ago. 2026

13 ago. 2026

06 ago. 2026

30 jul. 2026

23 jul. 2026

16 jul. 2026

02 jul. 2026

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04 jun. 2026

28 mayo 2026

21 mayo 2026

14 mayo 2026

07 mayo 2026

30 abr. 2026

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16 abr. 2026

09 abr. 2026

02 abr. 2026

26 mar. 2026

12 mar. 2026

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26 feb. 2026

19 feb. 2026

12 feb. 2026

29 ene. 2026

22 ene. 2026

15 ene. 2026

08 ene. 2026

25 dic. 2025

18 dic. 2025

11 dic. 2025

04 dic. 2025

27 nov. 2025

20 nov. 2025

13 nov. 2025

06 nov. 2025

30 oct. 2025

28 oct. 2025

23 oct. 2025

16 oct. 2025

09 oct. 2025

02 oct. 2025

25 sep. 2025

18 sep. 2025

Critics at Large | The New Yorker

Episodios

Introducing: “The Journey,” from In the Dark

That Back-to-School Feeling

Remembering Dolly Parton

What is Gen Z Afraid Of?

Critics’ Cult Classics: Emily Nussbaum on “Slings & Arrows”

Critics’ Cult Classics: Hannah Goldfield on the Food World’s Secret Tastemakers

Critics’ Cult Classics: Hanif Abdurraqib on Camp Lo’s “Uptown Saturday Night”

The Irony and the Ecstasy of Colson Whitehead

The Golden Age of the American Idiot

Who Owns the Odyssey?

An American Playlist

From The Political Scene: The Politics of the Big Game

Steven Spielberg’s Blockbusters

Why We Cling to the Animal Kingdom

I Need a Critic: June, 2026, Edition

Our Modern Glut of Choice

Where Do Men Go from Here?

How Romantasy Seduces Its Readers

The Met Gala, “The Devil Wears Prada 2,” and the State of Style

What “Michael” Tries to Show—or Hide

Why Earnestness is Everywhere

“Beef,” “The Drama,” and the New Marriage Plot

The Guilty Pleasure of the Heist

“DTF St. Louis” and the New Story of the Suburbs

The Soft Power of BTS

“Love Story” and Why We Cling to the Kennedy Myth

The Hall of Fame—and of Shame—of Oscars Hosts

Critics at Large Live: “Wuthering Heights” and Its Afterlives

The Truth of Toni Morrison

Charli XCX Misses the Moment

“Heated Rivalry,” “Pillion,” and the New Drama of the Closet

I Need a Critic: One-Hundredth-Episode Edition

Why Football Matters

Do We Need Saints?

Our Romance with Jane Austen

The Year of the Broken Mirror

“Wake Up Dead Man” and the Whodunnit Renaissance

Does “Hamlet” Need a Backstory?

After “Wicked,” What Do We Want from the Musical?

In “Pluribus,” Utopia Isn’t All It’s Cracked Up to Be

The Guilty Pleasure of the Heist

Critics at Large Live: Padma Lakshmi’s Expansive Taste

Why Horror Still Haunts Us

In the Dark: Blood Relatives, Episode 1

Art in the Age of Artificial Intelligence

I Need a Critic: October, 2025, Edition

How the Trad Wife Took Over

One Paul Thomas Anderson Film After Another

What's Cooking?

“The Paper,” “The Lowdown,” and the Drama of Journalism