The New Yorker’s Tyler Foggatt recently shared his insights on how the death-defying physical performances by actors are crucial to the success of a series. The New Yorker is known for its unique blend of news, culture, and the arts, with a history dating back to February 21, 1925. In a recent episode of The New Yorker Radio Hour, Percival Everett’s “James” was announced as the winner of a Pulitzer Prize. This achievement highlights the writer and National Book Award winner’s talent and contribution to the literary world.
Robert F. Kennedy, Jr.’s involvement in the politics of junk food was a topic of discussion on another episode of The New Yorker Radio Hour. Nutrition researcher Marion Nestle delved into the health impacts of America’s diet and speculated on whether the Trump Administration would take action against the food industry. In the “I Need a Critic” segment for May 2025, the hosts of Critics at Large offered recommendations on TV shows to watch while eating, strategies to alleviate guilt over unread books, and texts to help cope with current events.
The Political Scene Podcast featured discussions on Donald Trump’s fondness for A.I. imagery and Jeff Bezos’s plans for the Washington Post. Staff writer Katy Waldman analyzed Trump’s use of A.I. images as a reflection of his authoritarian tendencies, while Clare Malone expressed concerns over the media’s reliance on billionaire funding. Dhruv Khullar’s reflections on Oliver Sacks’s “The Case of Anna H.” highlighted the late author’s dedication to chronicling medical cases with wonder and observation. The election of Robert Francis Prevost as the new Pope was described as a grand spectacle that captivated audiences both in the Vatican and online.
In the same Political Scene Podcast, the shift from experts to enemies was explored, with historian Daniel Immerwahr noting the rise of figures like R.F.K. Jr. as authorities despite their initial skepticism towards established expertise. The latest installment of the “Mission: Impossible” series, titled “The Final Reckoning,” was critiqued for its self-indulgent tone but praised for its action sequences. Michael Luo discussed the historical significance of Chinese immigrants in America, emphasizing their ongoing struggle against racial prejudice as an American epic. Jeff Bark’s artistic representations in “Requiem for a ‘Drunk Dad'” were analyzed for their portrayal of American fantasies and personal folklore.
