It’s a confusing time to travel. Tourism is projected to hit record-breaking levels this year, and its toll on the culture and ecosystems of popular vacation spots is increasingly hard to ignore. Social media pushes hoards to places unable to withstand the traffic, while the rise of “last-chance” travel—the rush to see melting glaciers or deteriorating coral reefs before they’re gone forever—has turned the precarity of these destinations into a selling point. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz explore the question of why we travel. They trace the rich history of travel narratives, from the memoirs of Marco Polo and nineteenth-century accounts of the Grand Tour to shows like Anthony Bourdain’s “Parts Unknown” and HBO’s “The White Lotus.” Why are we compelled to pack a bag and set off, given the growing number of reasons not to do so? “One thing that’s really important for me as a traveller is the experience of being foreign,” Schwartz says. “I’m starting to realize that there are places I may never go, and this has actually made other people’s accounts of them, in the deeper sense, more important.”

This episode originally aired on June 13, 2024. 

Read, watch, and listen with the critics:

“The New Tourist,” by Paige McClanahan

The “Lonely Planet” guidebooks

“The Travels of Marco Polo,” by Rustichello da Pisa

“Of Travel,” by Francis Bacon

“The Innocents Abroad,” by Mark Twain

“Self-Reliance,” by Ralph Waldo Emerson

“Travels through France and Italy,” by Tobias Smollett

“Anthony Bourdain: Parts Unknown” (2013-18)

“The White Lotus” (2021—)

“Conan O’Brien Must Go” (2024)

“It Just Got Easier to Visit a Vanishing Glacier. Is That a Good Thing?,” by Paige McClanahan (The New York Times)

“The New Luxury Vacation: Being Dumped in the Middle of Nowhere,” by Ed Caesar (The New Yorker)

New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.

The word “diva” comes from the world of opera, where divinely talented singers have enraptured audiences for centuries. But preternatural gifts often go hand in hand with bad behavior—as in the case of Patti LuPone, the blunt Broadway dame whose remarks about fellow-actresses in a recent New Yorker Profile quickly became a source of scandal. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and guest host Michael Schulman examine the figure of the diva, from Miss Piggy to Maria Callas, and consider whether our culture still rewards such  personalities. “I don’t think we’ll ever stop being drawn to larger-than-life characters with messy, larger-than-life personal lives,” Schulman says. “There is a line that people can cross—but it’s constantly shifting.” 

Read, watch, and listen with the critics:

“On ‘Succession,’ Jeremy Strong Doesn’t Get the Joke,” by Michael Schulman (The New Yorker)
“Patti LuPone Is Done with Broadway—and Almost Everything Else,” by Michael Schulman (The New Yorker)
“The Politics of the Oscar Race” (The New Yorker)
“Evita” (1978)
“Gypsy” (1959)
“Company” (1970)
“How Maria Callas Lost her Voice,” by Will Crutchfield (The New Yorker)
“Liz & Dick” (2012)
“The Muppets Take Manhattan” (1984)
“The Problem With Ryan Murphy’s Wannabe Divas,” by Logan Scherer (The Atlantic)
“Aretha Franklin’s American Soul,” by David Remnick (The New Yorker)
“Feud: Bette and Joan” (2017)

New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.

Yiyun Li’s “Things in Nature Merely Grow” is a bracingly candid memoir of profound loss: one written in the wake of her son James’s death by suicide, seven years after her older son Vincent died in the same way. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss Li’s book, which reads alternately like a work of philosophy, a piece of narrative criticism, and a devastating account of difficult facts. The hosts also consider other texts, from the poetry of Alfred Lord Tennyson and Tim Dlugos to a recent crop of standup-comedy specials about grief, and ask what such art can offer us in our current moment of turmoil. “Li is here as a kind of messenger, I think, to describe one of the farthest points of human experience,” Schwartz says. “This book is, in that way, sublime: words fail and fail and fail, but still they do something.”

Read, watch, and listen with the critics:

“Things in Nature Merely Grow,” by Yiyun Li

“Where Reasons End,” by Yiyun Li

“‘My Sadness Is Not a Burden’: Author Yiyun Li on the Suicide of Both Her Sons,” by Sophie McBain (the Guardian)

“The Year of Magical Thinking,” by Joan Didion

“How to Lose Your Mother: A Daughter's Memoir,” by Molly Jong-Fast

John Cale and Lou Reed’s “Songs for Drella”

“Marc Maron: From Bleak to Dark” (2023)

“Sarah Silverman: PostMortem” (2025)

“Rachel Bloom: Death, Let Me Do My Special” (2024)

“Rachel Bloom Has a Funny Song About Death,” by Alexandra Schwartz (The New Yorker)

“In Memoriam A. H. H.,” by Alfred Lord Tennyson

The AIDS Memorial Quilt

@theaidsmemorial on Instagram

“G-9,” by Tim Dlugos 

New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.

Though Jane Austen went largely unrecognized in her own lifetime—four of her six novels were published anonymously, and the other two only after her death—her name is now synonymous with the period romance. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz choose their personal favorites from her œuvre—“Emma,” “Persuasion,” and “Mansfield Park”—and attempt to get to the heart of her appeal. Then they look at how Austen herself has been characterized by readers and critics. We know relatively little about Austen as a person, but that hasn’t stopped us from trying to understand her psyche. It’s a difficult task in part because of the double-edged quality to her writing: Austen, although renowned for her love stories, is also a keen satirist of the Regency society in which these relationships play out. “I think irony is so key, but also sincerity,” Schwartz says. “These books are about total realism and total fantasy meeting in a way that is endlessly alluring.”

Read, watch, and listen with the critics:

“Pride and Prejudice,” by Jane Austen

“Persuasion,” by Jane Austen
“Emma,” by Jane Austen
“Mansfield Park,” by Jane Austen

“Sense and Sensibility,” by Jane Austen

“Northanger Abbey,” by Jane Austen

“Virginia Woolf on Jane Austen” (The New Republic)
Emily Nussbaum on “Breaking Bad” and the “Bad Fan” (The New Yorker)
“How to Misread Jane Austen,” by Louis Menand (The New Yorker)

“Miss Austen” (2025—)

“Pride and Prejudice” (2005)

Scenes Through Time’s “Mr. Darcy Yearning for 10 Minutes” Supercut

New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.

“Succession” creator Jesse Armstrong’s latest work, a ripped-from-the-headlines sendup of tech billionaires called “Mountainhead,” is arguably an extension of his over-all project: making the ultra-wealthy look fallible, unglamorous, and often flat-out amoral. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss how the new movie draws on the tech oligarchs we’ve come to know in real life, and consider the special place that the über-rich have held in the American imagination since the days of Edith Wharton and Upton Sinclair. How has the rise of such figures as Elon Musk and Mark Zuckerberg changed our conception? And, as they’ve become more present in our daily lives—and more cartoonishly powerful—is it even possible to satirize them? “I think now that job is more important and also harder to do for artists,” says Schwartz, “simply because the culture is so enraptured with wealth."

Read, watch, and listen with the critics:

“Mountainhead” (2025)

“Succession” (2018-23)

“Oil!,” by Upton Sinclair

“There Will Be Blood” (2007)

“Lifestyles of the Rich and Famous” (1984-95)

“Three Faces of American Capitalism: Buffett, Musk, and Trump,” by John Cassidy (The New Yorker)

“Joe Rogan, Hasan Piker, and the Art of the Hang” (The New Yorker)

“On the Campaign Trail, Elon Musk Juggled Drugs and Family Drama,” by Kirsten Grind and Megan Twohey (The New York Times)

New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.

 “Sesame Street,” which first aired on PBS in 1969, was born of a progressive idea: that children from all socioeconomic backgrounds should have access to free, high-quality, expressly educational entertainment. In the years since, the show has become essential viewing for generations of kids around the world. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz consider the program’s radical origins and the way it has evolved—for better or for worse—over the decades. What do the changes in “Sesame Street” ’s tone and content reveal about how parenting itself has changed? “The way that a children’s program proceeds does give us a hint as to the kinds of people that a society is producing,” Cunningham says. “And childhood is not the same as it was when we were kids.”

Read, watch, and listen with the critics:

“Sesame Street” (1969–)
“Rechov Sumsum” (1983–)
“How We Got to Sesame Street,” by Jill Lepore (The New Yorker)
“Cookie, Oscar, Grover, Herry, Ernie, and Company,” by Renata Adler (The New Yorker)

New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.

There’s arguably no better time for falling down a cultural rabbit hole than the languid, transitory summer months. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss how the season allows us to foster a particular relationship with a work of art—whether it’s the soundtrack to a summer fling or a book that helps make sense of a new locale. Listeners divulge the texts that have consumed them over the years, and the hosts share their own formative obsessions, recalling how Brandy’s 1998 album, “Never Say Never,” defined a first experience at camp, and how a love of Jim Morrison’s music resulted in a teen-age pilgrimage to see his grave in Paris. But how do we square our past obsessions with our tastes and identities today? “Whatever we quote, whatever we make reference to, on so many levels is who we are,” Cunningham says. “It seems, to me, so precious.”

This episode originally aired on June 27, 2024. 

Read, watch, and listen with the critics:

“Heathers” (1988)

“Pump Up the Volume” (1990)

The poetry of Sergei Yesenin

The poetry of Alexander Pushkin

GoldenEye 007 (1997)

“Elvis” (2022)

“Jailhouse Rock” (1957)

“Pride & Prejudice” (2005)

The Neapolitan Novels, by Elena Ferrante

“Ramble On,” by Led Zeppelin

“Never Say Never,” by Brandy

“The Boy Is Mine,” by Brandy and Monica

“The End,” by The Doors

“The Last Waltz” (1978)

“The Witches of Eastwick,” by John Updike

“Atlas Shrugged,” by Ayn Rand

“Pirates of the Caribbean: The Curse of the Black Pearl” (2003)

“Postcards from the Edge” (1990)

“Rent” (1996)

New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.

In the weeks since Pope Francis’s passing, the internet has been flooded by papal memes, election analysis, and even close readings of the newly appointed Pope Leo XIV’s own posts. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz consider why the moment has so captivated Catholics and nonbelievers alike. They discuss the online response and hear from the writer Paul Elie, who’s been covering the event on the ground at the Vatican for The New Yorker. Then the hosts consider how recent cultural offerings, from last year’s “Conclave” to the HBO series “The Young Pope,” depict the power and pageantry of the Church, with varying degrees of reverence. Leo XIV’s first address as Pope began with a message of peace—an act that may have contributed to the flurry of interest and excitement around him. “The signs are hopeful,” Cunningham says. “And reasons to hope attract attention.”

Read, watch, and listen with the critics:

“Francis, the TV Pope, Takes His Final Journey,” by Vinson Cunningham (The New Yorker)
“White smoke, Black pope?,” by Nate Tinner Williams (The National Catholic Reporter)
“The First American Pope,” by Paul Elie (The New Yorker)
“Brideshead Revisited,” by Evelyn Waugh
“Conclave” (2024)
“Angels & Demons” (2009)
“The Young Pope” (2016)
“The Two Popes” (2019)
Pope Leo XIII’s “Rerum Novarum”

New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.

In a new installment of the Critics at Large advice hotline, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz field calls from listeners on a variety of cultural dilemmas, and offer recommendations for what ails them. Callers’ concerns run the gamut from the lighthearted to the existential; several seek works to help ease the sting of the state of the world. “I can’t say that we will solve those deeper issues,” Cunningham says. “But to share art with somebody is to offer them a companion.”

Read, watch, and listen with the critics:

The New York Issue of The New Yorker (May 12 & 19, 2025)
“Birds of America,” by Lorrie Moore
“Eighth Grade” (2018)
“Gilead,” by Marilynne Robinson
“Danny, the Champion of the World,” by Roald Dahl
“Midnight Diner” (2016-19)
“Sentimental Education,” by Gustave Flaubert
“Middlemarch,” by George Eliot
“My Life in Middlemarch,” by Rebecca Mead
“How the Method Made Acting Modern,” by Alexandra Schwartz (The New Yorker)
Charles Schulz’s “Peanuts”
“First Reformed” (2017)
“Better Things” (2016-22)
“The Functionally Dysfunctional Matriarchy of ‘Better Things,’ ” by Alexandra Schwartz (The New Yorker)
“Odes,” by Sharon Olds
TJ Douglas’s “Dying”
Mozart’s “The Magic Flute”
“Peppa Pig” (2004—)
Aaron Copland’s “Billy the Kid”
Dennis Wilson’s “Pacific Ocean Blue”
Caetano Veloso’s “Ofertório”
Crosby, Stills & Nash’s début album

New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.

The vampire has long been a way to explore the shadow side of society, and “Sinners,” Ryan Coogler’s new blockbuster set in the Jim Crow-era South, is no exception. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss what “Sinners,” which fuses historical realism with monster-movie-style horror, illuminates about America in 2025. They trace the archetype from such nineteenth-century texts as “The Vampyre” and “Dracula” to the “Twilight” moment of the aughts, when Edward Cullen, an ethical bloodsucker committed to abstinence, turned the vampire from a predatory outsider into a Y.A. heartthrob. What do he and his ilk have to say today? “The vampire is the one who can unsettle our notions, and maybe give us new notions,” Cunningham says. “The vampire comes in and asks, ‘But have you considered this?’ ” 

Read, watch, and listen with the critics:

“Sinners” (2025)
“Black Panther” (2018)
“The Vampyre,” by John Polidori
“In the Blood,” by Joan Acocella (The New Yorker)
“Dracula,” by Bram Stoker
“Dracula” (1931)
“Love at First Bite” (1979)
“The Lost Boys” (1987)
“True Blood” (2008–14)
“Twilight” (2008)
“What We Do in the Shadows” (2019–24)

New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.