A special #ClimateStrike selection of The New Yorker pieces on climate change and the new age of student climate activism: newyorker.com/books/double-t…

"[The songs] owe something to the regret that gnawed at Hunter over the effects of cocaine on the whole enterprise." newyorker.com/culture/postsc…

For my latest archival newsletter on "All the President's Men," I dug up The New Yorker's original Goings On About Town capsule review of the 1972 film, "Deep Throat." #newyorkerclassics link.newyorker.com/view/5bd66d3b2…

"Under Jessye Norman’s aegis, 'Im Abendrot' becomes a fantasy of the kind of death we all wish we could have." Alex Ross newyorker.com/culture/postsc…

I wrote about cursed energy newyorker.com/culture/cultur…

I wrote about Reformation, or as Gabby Noone once put it, “slutty Eileen Fisher” newyorker.com/culture/on-and…

It's #GuyFawkesDay! Aka Gunpowder Night, aka Bonfire Night. As night falls, consider the evolution of #GuyFawkes from archvillain to Guy Smiley. Allan Metcalf newyorker.com/culture/comma-…

I wrote about Yoko Ogawa's phenomenal novel The Memory Police, which (like The Underground Railroad & Exit West) draws its power from updating an allegorical device that I haven't been able to stop thinking about newyorker.com/books/under-re…

.@newyorker is launching a documentary series. Check out the short films that are part of the series so far. Filmmakers, submit your documentaries for consideration! newyorker.com/culture/the-ne…

I went to Beverly Hills and posed as a would-be patient at the offices of the top celebrity plastic surgeons to see what I could learn about the arms race between digital and physical improvement that is Instagram Face newyorker.com/culture/decade…

Journey with me, deeper than you ever wanted to, into the absolute nightmare/hallucinatory paradise/unrepeatable cultural phenomenon that is CATS newyorker.com/culture/cultur…

I see there's a new Tina Brown interview floating around so this is as good a time as any to remind you that in 1995 the The New Yorker published a twenty-five page "fable" consisting of color photos taken by Richard Avedon showing a model posing with a dressed skeleton.