Style
How French Should a Restaurant Be?
The onslaught of intensity works, thanks to choices the restaurant makes in portioning (not overlarge) and service (not over-rushed), which gives the palate a bit of time to regroup...
From Life in Prison to the Eras Tour
Still, over time, I earned a reputation. “Joe’s straight,” guys would say, with some mix of mockery and begrudging respect. The prison system assigned each of us a security...
Tim Curry Does the Time Warp
It does feel kind of like a play. Even people who haven’t seen it know Madeline Kahn’s “flames on the side of my face” speech. What was your experience...
The Erotics of Coreen Simpson
“The face was not important in the history of nude photography,” Simpson said, in an interview not too long ago. And what has Simpson used to obscure the faces...
The Making of “Adaptation”
I didn’t keep close track of what was going on with “Adaptation,” because I was busy with my own work and, frankly, I didn’t expect much to come of...
John Carpenter’s Three Favorite Film Scores
Listen and subscribe: Apple | Spotify | Google | Wherever You ListenSign up for our daily newsletter to get the best of The New Yorker in your inbox.The filmmaker...
Misty Copeland’s Ballet Send-Off
Sometimes a return is also a farewell. Misty Copeland, the first Black female principal dancer at American Ballet Theatre, may be the most famous American ballerina of her generation,...
Rose Byrne Hits the Mother Lode
Her comedic pivot would have to wait, though. After a stint living in London, she moved to New York to co-star with Glenn Close in “Damages,” the FX legal...
Art and Life in Richard Linklater’s “Blue Moon” and “Nouvelle Vague”
Leave it to Richard Linklater to see how, in art, the fundamental things apply. In his two new movies—“Blue Moon,” about the lyricist Lorenz Hart, and “Nouvelle Vague,” about...