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| Episode | Date |
|---|---|
|
Who Owns the Odyssey?
|
Jul 16, 2026 |
|
An American Playlist
|
Jul 02, 2026 |
|
From The Political Scene: The Politics of the Big Game
|
Jun 25, 2026 |
|
Steven Spielberg’s Blockbusters
|
Jun 18, 2026 |
|
Why We Cling to the Animal Kingdom
|
Jun 11, 2026 |
|
I Need a Critic: June, 2026, Edition
|
Jun 04, 2026 |
|
Our Modern Glut of Choice
|
May 28, 2026 |
|
Where Do Men Go from Here?
|
May 21, 2026 |
|
How Romantasy Seduces Its Readers
|
May 14, 2026 |
|
The Met Gala, “The Devil Wears Prada 2,” and the State of Style
|
May 07, 2026 |
|
What “Michael” Tries to Show—or Hide
|
Apr 30, 2026 |
|
Why Earnestness is Everywhere
|
Apr 23, 2026 |
|
“Beef,” “The Drama,” and the New Marriage Plot
|
Apr 16, 2026 |
|
The Guilty Pleasure of the Heist
|
Apr 09, 2026 |
|
“DTF St. Louis” and the New Story of the Suburbs
|
Apr 02, 2026 |
|
The Soft Power of BTS
|
Mar 26, 2026 |
|
“Love Story” and Why We Cling to the Kennedy Myth
|
Mar 12, 2026 |
|
The Hall of Fame—and of Shame—of Oscars Hosts
|
Mar 05, 2026 |
|
Critics at Large Live: “Wuthering Heights” and Its Afterlives
|
Feb 26, 2026 |
|
The Truth of Toni Morrison
|
Feb 19, 2026 |
|
Charli XCX Misses the Moment
|
Feb 12, 2026 |
|
“Heated Rivalry,” “Pillion,” and the New Drama of the Closet
|
Jan 29, 2026 |
|
I Need a Critic: One-Hundredth-Episode Edition
|
Jan 22, 2026 |
|
Why Football Matters
|
Jan 15, 2026 |
|
Do We Need Saints?
|
Jan 08, 2026 |
|
Our Romance with Jane Austen
|
Dec 25, 2025 |
|
The Year of the Broken Mirror
|
Dec 18, 2025 |
|
“Wake Up Dead Man” and the Whodunnit Renaissance
|
Dec 11, 2025 |
|
Does “Hamlet” Need a Backstory?
|
Dec 04, 2025 |
|
After “Wicked,” What Do We Want from the Musical?
|
Nov 27, 2025 |
|
In “Pluribus,” Utopia Isn’t All It’s Cracked Up to Be
|
Nov 20, 2025 |
|
The Guilty Pleasure of the Heist
|
Nov 13, 2025 |
|
Critics at Large Live: Padma Lakshmi’s Expansive Taste
|
Nov 06, 2025 |
|
Why Horror Still Haunts Us
|
Oct 30, 2025 |
|
In the Dark: Blood Relatives, Episode 1
|
Oct 28, 2025 |
|
Art in the Age of Artificial Intelligence
|
Oct 23, 2025 |
|
I Need a Critic: October, 2025, Edition
|
Oct 16, 2025 |
|
How the Trad Wife Took Over
|
Oct 09, 2025 |
|
One Paul Thomas Anderson Film After Another
|
Oct 02, 2025 |
|
What's Cooking?
|
Sep 25, 2025 |
|
“The Paper,” “The Lowdown,” and the Drama of Journalism
|
Sep 18, 2025 |
|
Why We're All In on Gambling
|
Sep 11, 2025 |
|
Our Fads, Ourselves
|
Sep 04, 2025 |
|
How to Watch a Movie
|
Aug 21, 2025 |
|
Les Américains à Paris
|
Aug 14, 2025 |
|
How Zohran Mamdani Became the Main Character of New York City
|
Aug 07, 2025 |
|
Late Night's Last Laugh
|
Jul 31, 2025 |
|
“Eddington” and the American Berserk
|
Jul 17, 2025 |
|
“Materialists,” “Too Much,” and the Modern Rom-Com
|
Jul 10, 2025 |
|
Why We Travel
|
Jul 03, 2025 |
|
The Diva Is Dead, Long Live the Diva
|
Jun 26, 2025 |
|
Why We Turn Grief Into Art
|
Jun 19, 2025 |
|
Our Romance with Jane Austen
|
Jun 12, 2025 |
|
“Mountainhead” and the Age of the Pathetic Billionaire
|
Jun 05, 2025 |
|
Lessons from “Sesame Street”
|
May 29, 2025 |
|
The Season for Obsessions
|
May 22, 2025 |
|
The Grand Spectacle of Pope Week
|
May 15, 2025 |
|
I Need a Critic: May 2025 Edition
|
May 08, 2025 |
|
How “Sinners” Revives the Vampire
|
May 01, 2025 |
|
War Movies: What Are They Good For?
|
Apr 17, 2025 |
|
“The Studio” Pokes Fun at Hollywood’s Existential Struggle
|
Apr 10, 2025 |
|
Gossip, Then and Now
|
Apr 03, 2025 |
|
Joe Rogan, Hasan Piker, and the Art of the Hang
|
Mar 27, 2025 |
|
Critics at Large Live: The Right to Get It Wrong
|
Mar 20, 2025 |
|
Our Modern Glut of Choice
|
Mar 13, 2025 |
|
How “The Pitt” Diagnoses America's Ills
|
Mar 06, 2025 |
|
In “Severance,” the Gothic Double Lives On
|
Feb 27, 2025 |
|
The Staying Power of the “S.N.L.” Machine
|
Feb 20, 2025 |
|
How Romantasy Seduces Its Readers
|
Feb 13, 2025 |
|
David Lynch’s Unsolvable Puzzles
|
Feb 06, 2025 |
|
The Splendor of Nature, Now Streaming
|
Jan 30, 2025 |
|
The New Western Gold Rush
|
Jan 16, 2025 |
|
The Elusive Promise of the First Person
|
Jan 09, 2025 |
|
Hayao Miyazaki’s Magical Realms
|
Dec 26, 2024 |
|
Critics at Large Live: The Year of the Flop
|
Dec 19, 2024 |
|
After “Wicked,” What Do We Want from the Musical?
|
Dec 12, 2024 |
|
The Modern-Day Fight for Ancient Rome
|
Dec 05, 2024 |
|
Will Kids Online, In Fact, Be All Right?
|
Nov 21, 2024 |
|
The Value—and Limits—of Seeking Comfort in Art
|
Nov 14, 2024 |
|
Critics at Large Live: Julio Torres’s Dreamy Surrealism
|
Oct 31, 2024 |
|
Help, I Need a Critic!
|
Oct 24, 2024 |
|
A Controversial Trump Bio-pic and the Villains We Make
|
Oct 10, 2024 |
|
“The Substance” and the New Horror of the Modified Body
|
Oct 03, 2024 |
|
The Fate of the Finance Bro
|
Sep 26, 2024 |
|
Sally Rooney’s Beautiful Deceptions
|
Sep 19, 2024 |
|
Was Abraham Lincoln Gay . . . And Should We Care?
|
Sep 12, 2024 |
|
The Trap of the Trad Wife
|
Sep 05, 2024 |
|
Tarot, Tech, and Our Age of Magical Thinking
|
Aug 29, 2024 |
|
The Irresistible Myth of Las Vegas
|
Aug 22, 2024 |
|
Charli XCX, Chappell Roan, and the Unstable Hierarchy of Pop
|
Aug 15, 2024 |
|
Why We Want What Tom Ripley Has
|
Aug 08, 2024 |
|
The Kamala Harris Vibe Shift
|
Aug 01, 2024 |
|
From Vanity Fair’s “Dynasty”: Can Harry and Meghan’s Hollywood Dream Last?
|
Jul 25, 2024 |
|
Alice Munro’s Fall from Grace
|
Jul 18, 2024 |
|
The Changing World of Nature Documentaries
|
Jul 11, 2024 |
|
From The New Yorker Radio Hour: Emily Nussbaum on the Beginnings of Reality TV
|
Jul 04, 2024 |
|
Summer Obsessions
|
Jun 27, 2024 |
|
The Therapy Episode
|
Jun 20, 2024 |
|
Is Travel Broken?
|
Jun 13, 2024 |
|
The Many Faces of the Hit Man
|
Jun 06, 2024 |
|
The Rising Tide of Slowness
|
May 30, 2024 |
|
The New Midlife Crisis
|
May 23, 2024 |
|
Kendrick Lamar, Drake, and the Benefits of Beef
|
May 16, 2024 |
|
Our Collective Obsession with True Crime
|
May 09, 2024 |
|
Why the Sports Movie Always Wins
|
May 02, 2024 |
|
“Civil War” ’s Unsettling Images
|
Apr 18, 2024 |
|
“Curb Your Enthusiasm” and the Art of the Finale
|
Apr 11, 2024 |
|
Why We Want What Tom Ripley Has
|
Apr 04, 2024 |
|
Kate Middleton and the Internet’s Communal Fictions
|
Mar 28, 2024 |
|
Is Science Fiction the New Realism?
|
Mar 21, 2024 |
|
The New Coming-of-Age Story
|
Mar 14, 2024 |
|
Why We Love an Office Drama
|
Mar 07, 2024 |
|
The Politics of the Oscar Race
|
Feb 29, 2024 |
|
How Usher, Beyoncé, and Taylor Swift Build Their Own Legacies
|
Feb 15, 2024 |
|
The Painful Pleasure of “Wretched Love”
|
Feb 08, 2024 |
|
Why We Can’t Quit the Mean Girl
|
Feb 01, 2024 |
|
From In the Dark: The Runaway Princesses
|
Jan 30, 2024 |
|
What Is the Comic For?
|
Jan 25, 2024 |
|
The Case for Criticism
|
Jan 18, 2024 |
|
Can Slowness Save Us?
|
Jan 11, 2024 |
|
Portraits of the Artist
|
Jan 04, 2024 |
|
From The New Yorker Radio Hour: a Conversation with Dolly Parton
|
Dec 28, 2023 |
|
The Year of the Doll
|
Dec 21, 2023 |
|
George Santos and the Art of the Scam
|
Dec 14, 2023 |
|
Hayao Miyazaki’s Magical Realms
|
Dec 07, 2023 |
|
The Past, Present, and Future of the Period Drama
|
Nov 30, 2023 |
|
Samantha Irby Knows How to Be Funny
|
Nov 21, 2023 |
|
Is “The Golden Bachelor” Too Good to Be True?
|
Nov 16, 2023 |
|
Why We Dine Out (or Don’t)
|
Nov 09, 2023 |
|
Britney Spears Tells Her Horror Story
|
Nov 02, 2023 |
|
Martin Scorsese’s America
|
Oct 26, 2023 |
|
Are Straight Couples O.K.?
|
Oct 19, 2023 |
|
Spies, Sex, and John le Carré
|
Oct 12, 2023 |
|
Taylor Swift Is Everywhere All at Once
|
Oct 05, 2023 |
|
The Myth-Making of Elon Musk
|
Sep 28, 2023 |
|
What Is Cringecore, and Why Is It Everywhere?
|
Sep 28, 2023 |
|
Introducing: Critics at Large
|
Sep 21, 2023 |