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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...
In her new FX docuseries “Social Studies,” the artist and filmmaker Lauren Greenfield delves into the post-pandemic lives—and phones—of a group of L.A. teens. Screen recordings of the kids’ social-media use reveal how these platforms have reshaped their experience of the world in alarming ways. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss how the show paints a vivid, empathetic portrait of modern adolescence while also tapping into the long tradition of fretting about what the youths of the day are up to. The hosts consider moral panics throughout history, from the 1971 book “Go Ask Alice,” which was first marketed as the true story of a drug-addicted girl’s downfall in a bid to scare kids straight, to the hand-wringing that surrounded trends like rock and roll and the postwar comic-book craze. Anxieties around social-media use, by contrast, are warranted. Mounting research shows how screen time correlates with spikes in depression, loneliness, and suicide among teens. It’s a problem that has come to define all our lives, not just those of the youth. “This whole crust of society—people joining trade unions and other kinds of things, lodges and guilds, having hobbies,” Cunningham says, “that layer of society is shrinking. And parallel to our crusade against the ills of social media is, how do we rebuild that sector of society?” Read, watch, and listen with the critics:“Social Studies” (2024)“Into the Phones of Teens,” by Naomi Fry (The New Yorker)“Generation Wealth” (2018)Marilyn Manson“Reviving Ophelia,” by Mary Pipher“Go Ask Alice,” by Beatrice Sparks“Forrest Gump” (1994)“The Rules of Attraction,” by Bret Easton Ellis“Less Than Zero,” by Bret Easton Ellis“The Sorrows of Young Werther,” by Johann Wolfgang von Goethe“Seduction of the Innocent,” by Fredric Wertham“Has Social Media Fuelled a Teen-Suicide Crisis?,” by Andrew Solomon (The New Yorker)“The Anxious Generation,” by Jonathan Haidt“Bowling Alone,” by Robert D. PutnamNew episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.
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48:28
The Value—and Limits—of Seeking Comfort in Art
One of the most fundamental features of art is its ability to meet us during times of distress. In the early days of the pandemic, many people turned to comfort reads and beloved films as a form of escapism; more recently, in the wake of the election, shows such as “The Great British Bake Off” have been offered up on group chats as a balm. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz consider the value—and limits—of seeking solace in culture. Comfort art has flourished in recent years, as evidenced by the rise of genres such as“romantasy” and the “cozy thriller.” But where is the line between using art as a salve and tuning out at a moment when politics demands our engagement? “One of the purposes of the comfort we seek is to sustain us,” Schwartz says. “That’s what we all are going to need: sustenance to move forward.” Read, watch, and listen with the critics:“The Crown” (2016-2023)“Sesame Street” (1969-)“The Great British Bake Off” (2010-)“In Tumultuous Times, Readers Turn to ‘Healing Fiction,’ ” by Alexandra Alter (The New York Times)Charles Schulz’s “Peanuts” (1950-2000)“Uncut Gems” (2019)“Somebody Somewhere” (2022-)“3 Terrific Specials to Distract You from the News,” by Jason Zinoman (The New York Times)“Tom Papa: Home Free” (2024)“America, Don’t Succumb to Escapism,” by Kristen Ghodsee (The New Republic)“Candide,” by VoltaireBeth Stern’s Instagram“Janet Planet” (2023)Marvin Gaye’s “What's Going On”Donny Hathaway’s “Extension of a Man”New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.
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44:25
Critics at Large Live: Julio Torres’s Dreamy Surrealism
Since the comedian Julio Torres came to America from El Salvador, more than a decade ago, his fantastical style has made him a singular presence in the entertainment landscape. An early stint writing for “Saturday Night Live” yielded some of the show’s weirdest and most memorable sketches; soon after that, Torres’s work on the HBO series “Los Espookys,” which he co-wrote and starred in, cemented his status as a beloved odd-child of the comedy scene. In his most recent work, he’s applied his dreamy sensibility to very real bureaucratic nightmares. “Problemista,” his first feature film, draws on Torres’s own Kafkaesque experience navigating the U.S. immigration system; in his new HBO show, “Fantasmas,” the protagonist considers whether to acquire a document called a “proof of existence,” without which everyday tasks like renting an apartment are rendered impossible. In a live taping at The New Yorker Festival, the hosts of Critics at Large talk with Torres about his creative influences, and about using abstraction to put our most impenetrable systems into tangible terms. “Life today is so riddled with these man-made labyrinths that are life-or-death … there’s something very lonely about it,” Torres says. “These flourishes are there in service of the humanity.”Read, watch, and listen with the critics:“Problemista” (2023)“Fantasmas” (2024-)“Los Espookys” (2019-22)“I Want to Be a Vase,” by Julio Torres“My Favorite Shapes” (2019)“Saturday Night Live” (1975-)“Julio Torres’s ‘Fantasmas’ Finds Truth in Fantasy,” by Vinson Cunningham (The New Yorker)“The Hunchback of Notre Dame” (1996)“Charlie’s Angels: Full Throttle” (2003)“The Substance” (2024)New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.
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43:41
Help, I Need a Critic!
The art of advice-giving, championed over the years by such figures as Ann Landers and Cheryl Strayed, has lately undergone a transformation. As traditional columns have continued to proliferate, social-media platforms have created new venues for those seeking—and doling out—counsel, from the users of the popular subreddit “Am I the Asshole” to the countless “experts” who peddle their takes on Instagram and TikTok. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz try their hands at the trade, advising listeners on a variety of cultural conundrums. The hosts trace the form from early examples such as Advice for Living, the short-lived column written by Martin Luther King, Jr., in the late nineteen-fifties, through to the Internet age. The genre has long functioned as a forum for parsing the ethics of the era, and its enduring appeal might be explained by our inherent curiosity about the way others live. “There is a sort of plurality of approaches to life itself, which means that we are all passing into and out of other people’s moral universes,” Cunningham says. “I think it causes more trouble—causes more questions.”Read, watch, and listen with the critics:“The Witch Elm,” by Tana French“Crime and Punishment,” by Fyodor Dostoyevsky“Pride and Prejudice,” by Jane Austen“Intermezzo,” by Sally Rooney“The Guest,” by Emma Cline“I’m a Fan,” by Sheena Patel“My Husband,” by Maud Ventura“The Anthropologists,” by Ayşegül Savaş“Small Rain,” by Garth Greenwell“Brightness Falls,” by Jay McInerneyRichard Linklater’s “Before” trilogyWilliam Shakespeare’s “Hamlet”“Ghost World,” by Dan ClowesThe Ethicist (The New York Times)Dear Sugar (The Rumpus)“The Strange Case of Dr. Jekyll and Mr. Hyde,” by Robert Louis Stevenson“Lisa Frankenstein” (2024)“The Turn of the Screw,” by Henry James“Carrie,” by Stephen King“Little Labors,” by Rivka Galchen“Matrescence,” by Lucy Jones“The Mother Artist,” by Catherine Ricketts“Acts of Creation,” by Hettie Judahr/AmItheAssholeAdvice for Living (Ebony Magazine)New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.
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53:50
A Controversial Trump Bio-pic and the Villains We Make
“The Apprentice,” a new film directed by Ali Abbasi, depicts the rise of a young Donald Trump under the wing of the notorious lawyer Roy Cohn. The film is, in many ways, an origin story for a man who has overtaken contemporary politics. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss the movie and other works that explore Trump’s and Cohn’s psychologies, from duelling family memoirs to documentaries. The sheer number of such texts raises the question: Why are we so interested in the backstories of people who have done wrong, and what do we stand to gain (or lose) by humanizing them? “Do we want to see our villains, our absolute villains—people who have caused much harm to the world—as weak little boys who’ve undergone trauma and have had their reasons for becoming the monsters they later turn into?” Fry asks. “Or do we not?”Read, watch, and listen with the critics:“The Apprentice” (2024)“Who Could Ever Love You: A Family Memoir,” by Mary Trump“All in the Family: The Trumps and How We Got This Way,” by Fred C. Trump III“Where’s My Roy Cohn?” (2019)“Roy Cohn and the Making of a Winner-Take-All America,” by Naomi Fry (The New Yorker)“Angels in America” (2003)“Joker” (2019)“Wicked” (2024)“Ratched” (2020)“Elephant” (2003)“Cruella” (2021)“The Sopranos” (1991-2007)“Mad Men” (2007-15)The “Harry Potter” novels, by J. K. Rowling“Paradise Lost,” by John Milton“Be Ready When the Luck Happens,” by Ina GartenNew episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.
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.