Joshua Rothman is The New Yorker’s archive editor. He joined the magazine in 2012, and is a frequent contributor to newyorker.com, where he writes about books and ideas.
The new season tells us more about ourselves than it does about Russia or Trump.
Has our crazy world rendered the new spinoff of “The Good Wife” obsolete?
The ambivalence one feels while watching the reality show “Hunted” is civic. Who are you more afraid of—terrorists or the state?
On the Mall and on the streets, eras, sensibilities, and aesthetics jostled for attention.
With just fourteen short stories and a novella, the author behind the recent film “Arrival” has gained a rapturous following within the genre and beyond.
“The Mulberry Bush,” written and directed by Neil LaBute, made the jump from stage to screen. See it here.
In dark times, it’s tempting to give up on politics. The philosopher Charles Taylor explains why we shouldn’t.
You have a Clinton sign on your lawn. He has a Trump sign on his. Can you get along?
"Hillbilly Elegy," a moving memoir by J. D. Vance, has gathered a following among those who see in it a sympathetic theory about Trump supporters.
In its focus on dreamers, “Lo and Behold,” the filmmaker’s new documentary about the Internet, is a natural extension of his previous work.
“Stranger Things” looks like a show about the nineteen-eighties, but it taps into older—and weirder—American myths.
Track cyclists dress like action figures, and their bikes look like children drew them. Their races are breathtaking.