Last fall, a group of masked men broke into the Louvre in broad daylight and made off with some of France’s crown jewels. The stunt swiftly became an online phenomenon. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss the sordid satisfaction of watching a heist play out, both onscreen and off. They dive into the debacle at the Louvre, along with a range of fictional depictions, from the fantasy of hyper-competence in “Ocean’s Eleven” to the theft that goes woefully awry in Kelly Reichardt’s  “The Mastermind.” Part of the fun, it seems, lies in rooting for those who identify and exploit the blind spots of an institution. “Someone else, just like me, is seeing that everybody is an idiot. But, unlike me, they’re able to best those people in charge,” Fry says. “It’s an alternative morality—a morality of wits.”

This episode originally aired on November 13, 2025.

Read, watch, and listen with the critics:

“The Mastermind” (2025)
“Ocean’s Eleven” (2001)
Stella Webb’s impression of “the Louvre heist Creative Director”
Jake Schroeder’s “Ballad for the Louvre”
“Showing Up” (2022)
“The Italian Job” (1969)
“How to Beat the High Cost of Living” (1980)
“Drive” (2011)
“Le Cercle Rouge” (1970)
“This Is a Robbery: The World’s Biggest Art Heist” (2021)
“Good Time” (2017)
“George Santos and the Art of the Scam” (The New Yorker)

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

Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture.

Learn more about your ad choices. Visit podcastchoices.com/adchoices

In the new HBO miniseries “DTF St. Louis,” Jason Bateman plays a weatherman living with his wife and kids in a sleepy town just outside of St. Louis. He befriends a coworker, Floyd Smernitch (David Harbour), and the two sign up for a dating app that specializes in clandestine affairs. By the end of the first episode, Smernitch is dead. So begins a whodunnit set against the backdrop of suburban America and the discontents simmering beneath. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz survey how the setting has been used over the decades, from the films of Douglas Sirk and the stories of John Cheever in the nineteen-fifties and sixties to the fantasy of that era seen in 1985’s “Back to the Future.” Today, the locale is being assessed anew. Like “DTF,” the recent docuseries “Neighbors” strips the suburbs of their glamour, focussing instead on petty grievances and property disputes. “They are small stakes, but of course, everything that is quintessentially American—property, the right to violence, the right to protect land—are all intensely operative in this space,” Cunningham says. “And if something goes wrong, somebody pays for it.”

Read, watch, and listen with the critics:

“DTF St. Louis” (2026—)
“‘DTF St. Louis’ Peers Into the Suburban Male Psyche,” by Vinson Cunningham (The New Yorker)
“The Swimmer,” by John Cheever (The New Yorker)
“Judy Blume: A Life,” by Mark Oppenheimer
“Wifey,” by Judy Blume
“Back to the Future” (1985)
“All That Heaven Allows” (1955)
“Desperate Housewives” (2004-2012)
“American Pie” (1999)
“Buffy the Vampire Slayer” (1997-2003)
“Adventures in Babysitting” (1987)
“The Five-Forty-Eight,” by John Cheever (The New Yorker)
“Neighbors” (2026—)
“All Her Fault” (2025)
“Friendship” (2025)

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

Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture.

Learn more about your ad choices. Visit podcastchoices.com/adchoices

The K-pop group BTS—by many metrics, the most popular band of all time—had a meteoric ascent before its members were called away by mandatory South Korean military service. Now, nearly four years later, the group has returned with a new record, “Arirang.” On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz delve into the album as well as the live-streamed concert and documentary that have accompanied its release, both on Netflix. “Arirang” is being framed as a return to the group’s Korean roots, albeit one that signifies a new, more mature era for its members, who are now in their late twenties and early thirties. The hosts consider BTS’s meticulously crafted image and its relationship to its devoted followers, known as ARMY. Intense fandom is nothing new—just ask the Beatles—but K-pop stans are particularly invested in the lives (and livelihoods) of their favorite idols, even paying for the chance to message them directly. “This further privatization of what we call parasociality,” Cunningham says, “if that can be monetized and organized, it really is the final frontier of the pop star.”

Read, watch, and listen with the critics:

BTS’s “Arirang”
“BTS: The Return” (2026)
“KPop Demon Hunters” (2025)
Justin Bieber’s “Swag”
“The K-Pop King,” by Alex Barasch (The New Yorker)
The music video for BTS’s “Swim”
“Judy Blume: A Life,” by Mark Oppenheimer
The Beatles’ “Let It Be”

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

Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture.

Learn more about your ad choices. Visit podcastchoices.com/adchoices

“Love Story,” an FX series produced by Ryan Murphy, drops audiences straight into the lives of one of the most talked-about couples of the nineties: J.F.K., Jr., and the style icon Carolyn Bessette. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss how the show re-creates the look and fashion of the era in granular detail while reducing the relationship itself to a generic fairy tale. Despite its many flaws, the show has been embraced with a zeal that reflects the enduring allure of the Kennedys—often said to be the closest thing America has to a royal family. The hosts consider why this political dynasty has so persisted in the popular imagination, discussing everything from the work of the paparazzo Ron Galella to Oliver Stone’s “JFK” and Pablo Larrain’s “Jackie,” two very different treatments of the aftermath of John F. Kennedy’s assassination. “Love Story” ’s focus on style underscores how much the family’s legacy lives in aesthetics, which risks obscuring some of the darker chapters of its history. “It does seem like we have ever more efficiently stripped the Kennedys and their image, and their style, from any notions of political power,” Cunningham says. “The look of something and the sort of moral thrust of something are not always one to one working in parallel.”

Read, watch, and listen with the critics:

“Love Story” (2026–)
“Once Upon a Time: The Captivating Life of Carolyn Bessette-Kennedy,” by Elizabeth Beller
“How Can ‘Love Story’ Get Away With This?,” by Daryl Hannah (The New York Times)
“American Prince: JFK Jr.” (2025)
“Seinfeld” (1989-98)
“Jackie” (2016)
“The Kennedy Imprisonment,” by Garry Wills
The photography of Ron Galella
“JFK” (1991)
“A Battle with My Blood,” by Tatiana Schlossberg (The New Yorker)

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

Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture.

Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this episode of Critics at Large, with the ninety-eighth Academy Awards just around the corner, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz are joined by their fellow staff writer Michael Schulman to take stock of Oscars season. They discuss the biggest races and consider whether the year’s Best Picture nominees—many of them both critical and commercial successes—might represent a return to the bygone era of “grownup movies.” At the center of all this pageantry is the host: a notoriously tricky role for even the most seasoned performers. Together, the critics revisit the highs and lows of Oscars hosting history, from the long tenure of Bob Hope to the golden age of Billy Crystal. These m.c.s’ success hinges on their ability to walk a fine line, embodying the celebratory spirit of the evening while also poking fun at its absurdity. “It’s about that insider-outsider aspect. You are the court jester,” Schwartz says. “Are you really wanting to be vizier to the king, or are you O.K. in that jester role?”

Read, watch, and listen with the critics:

“Oscar Wars,” by Michael Schulman
“Marty Supreme” (2025)
“Sinners (2025)
“The Secret Agent” (2025)
“One Battle After Another” (2025)
“‘Come to Brazil?’ The Oscars Just Might,” by Michael Schulman (The New Yorker)
“Sentimental Value” (2025)
“The Mastermind” (2025)
“Peter Hujar’s Day” (2025)
Billy Crystal’s opening monologue for the 1990 Oscars
Chris Rock’s opening monologue for the 2005 Oscars
Ricky Gervais’s opening monologue for the 2020 Golden Globes
Nikki Glaser’s opening monologue for the 2026 Golden Globes

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

Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture.

Learn more about your ad choices. Visit podcastchoices.com/adchoices

When Emily Brontë published “Wuthering Heights,” in 1847, critics were baffled, alarmed, and mostly unimpressed. James Lorimer, writing in the North British Review, promised that the novel would “never be generally read.” Nearly two centuries later, it’s regarded as one of the great works of English literature. In a live taping of Critics at Large at the 92nd Street Y, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss the staying power of the original text and the countless adaptations it’s inspired, from the 1939 film featuring Laurence Olivier to Andrea Arnold’s 2011 version. The most recent attempt comes from the director Emerald Fennell, whose new “Wuthering Heights,” starring Margot Robbie and Jacob Elordi, reads as a romantic fever dream. The movie has been polarizing in part for the way it excises some of the weirder and wilder aspects of its source material. But what’s discarded—or emphasized—can also be revealing. “It’s an audacious proposition to adapt a great novel … I don’t think it needs to be faithful, necessarily,” Fry says. “The adaptation itself becomes a portrait of the time in which it’s made.”

Read, watch, and listen with the critics:

“Wuthering Heights,” by Emily Brontë
Kate Bush’s “Wuthering Heights”
Emerald Fennell’s “Wuthering Heights” (2026)
“Emerald Fennell’s ‘Wuthering Heights’ Never Plumbs the Depths,” by Justin Chang (The New Yorker)
“Barbie” (2023)
“Saltburn” (2023)
“Promising Young Woman” (2020)
“Jane Eyre,” by Charlotte Brontë
“The Communist Manifesto,” by Friedrich Engels and Karl Marx (1848)
Peter Kosminsky’s “Wuthering Heights” (1992)
William Wyler’s “Wuthering Heights” (1939)
Andrea Arnold’s “Wuthering Heights” (2011)
“All the King’s Men,” by Robert Penn Warren
“I Love L.A.” (2025–)

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

Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture.

Learn more about your ad choices. Visit podcastchoices.com/adchoices

Toni Morrison was many things in her lifetime—Nobel laureate, renowned author, Princeton professor, and generous mentor to young writers. Her appeal translated seamlessly to the internet, where old interview clips still bubble up regularly on social media, reminding us of her sharp wit and commanding presence. But, as Namwali Serpell argues in a new book of essays, “On Morrison,” this undeniable star persona risks eclipsing the genius—and complexity—of the eleven novels she wrote. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz dive back into these works to rediscover the writer as she was on the page. The hosts discuss Morrison’s début novel, “The Bluest Eye”; “Beloved,” which is widely regarded as her masterpiece; and “Jazz,” the experimental 1992 novel believed to be her personal favorite. Throughout her career, she insisted on writing flawed, dynamic characters rather than paragons of virtue. “The Morrison project is to put Black life, and particularly the lives of Black women, at the very center of literature—but to do it in a way that’s true to character and to human experience,” Schwartz says. “The people she’s writing about are damaged, are greedy, are jealous, are sad . . . and also are generous, and loving, and hurt and trying to heal.”

Read, watch, and listen with the critics:

“On Morrison,” by Namwali Serpell
“Toni Morrison, the Teacher,” by Vinson Cunningham (The New Yorker)
“The Bluest Eye,” by Toni Morrison
“Song of Solomon,” by Toni Morrison
“Toni Morrison and the Ghosts in the House,” by Hilton Als (The New Yorker)
“Jazz,” by Toni Morrison
“Beloved,” by Toni Morrison
“Sula,” by Toni Morrison
“Black Writers in Praise of Toni Morrison” (The New York Times)
“The Blue Period: Black Writing in the Early Cold War,” by Jesse McCarthy
Monuments at MOCA and the Brick
“Language as Liberation,” by Toni Morrison

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

Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture.

Learn more about your ad choices. Visit podcastchoices.com/adchoices

Once the fervor around Charli XCX’s 2024 album “brat” had cooled, the singer was approached to make a documentary about the tour—a practice that’s been embraced by the likes of Taylor Swift and Beyoncé. But Charli, who has built her brand in opposition to mainstream expectations, instead released “The Moment,” a tongue-in-cheek satire about the pressures stars face to milk career highs like “brat summer” for all they’re worth. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz consider “The Moment” alongside both the sanitized documentaries it mocks and other artists’ attempts to subvert the form. Many of these projects promise genuine insight into their subjects, but what they actually show is the increasingly delicate balancing act of “authentic” celebrity. “It is really hard to both reveal and conceal at the same time,” Fry says. “To invite the fan in—but not in a way that feels unsafe, or that could get you cancelled, or could make you sell less, or could make you unloved.”

See Critics at Large live: the hosts will be discussing “Wuthering Heights” onstage at the 92nd Street Y on February 19th. Both in-person and streaming tickets are available. Buy now »

Read, watch, and listen with the critics:

Charli XCX’s “brat”
“The Moment” (2026)
“Homecoming: A Film by Beyoncé” (2019)
“Gaga: Five Foot Two” (2017)
“A Hard Day’s Night” (1964)
“Spice World” (1997)
“Taylor Swift: The End of an Era” (2025)
“Sean Combs: The Reckoning” (2025)
“Renaissance: A Film by Beyoncé” (2023)
“Gimme Shelter” (1970)
“Madonna: Truth or Dare” (1991)
“I’m Still Here” (2010)

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

Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture.

Learn more about your ad choices. Visit podcastchoices.com/adchoices

“Heated Rivalry,” a low-budget Canadian series that began streaming on HBO Max late last year, quickly made the leap from unexpected word-of-mouth success to full-blown cultural phenomenon. The show, which follows a pair of professional hockey players who fall for each other, has been name-checked by everyone from the N.H.L. commissioner to Zohran Mamdani; its two young leads, Hudson Williams and Connor Storrie, just served as Olympic torch-bearers. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz unpack “Heated Rivalry” ’s appeal, considering its embrace of earnestness and its place in a broader lineage of stories about gay love. The way the protagonists are forced to hide their relationship recalls dramas set in earlier eras, from E. M. Forster’s “Maurice” to Annie Proulx’s “Brokeback Mountain”—but the function of the closet in art is ever-evolving. The hosts also discuss “Pillion,” a new film starring Alexander Skarsgård and Harry Melling, which features parents who are supportive of their son’s gayness but in the dark about his life as a sub. “It’s interesting, these contemporary stories where gay relationships are, in the larger culture, totally accepted—and that there are sort of closets within closets,” Cunningham says. “There’s a deeper place that others cannot go.”

See Critics at Large live: the hosts will be discussing “Wuthering Heights” onstage at the 92nd Street Y on February 19th. Both in-person and streaming tickets are available. Buy now »

Read, watch, and listen with the critics:

“Heated Rivalry” (2025–)
“Pillion” (2026)
Elena Ferrante’s Neapolitan Novels
Esther Perel’s response to “Heated Rivalry”
The novels of Sally Rooney
“The Delicious Anticipation–and, Yes, Release—of ‘Heated Rivalry,’ ” by Naomi Fry (The New Yorker)
“Maurice,” by E. M. Forster
“Brokeback Mountain” (2005)
“The Price of Salt,” by Patricia Highsmith
“Carol” (2015)
“My Own Private Idaho” (1991)
“The Swimming-Pool Library,” by Alan Hollinghurst
“The Loves of My Life,” by Edmund White
“I Love L.A.” (2025–)

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

Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture.

Learn more about your ad choices. Visit podcastchoices.com/adchoices

Vinson Cunningham, Naomi Fry, and Alexandra Schwartz celebrate the one-hundredth episode of Critics at Large with a special installment of the podcast’s advice series. Together, they counsel callers on everything from turning non-readers into bibliophiles to the art of curating the ideal road-trip playlist. They’re joined by David Remnick, the editor of The New Yorker, who shares some cultural dilemmas of his own. Finally, the hosts turn the tables and ask for guidance from their listeners.

Read, watch, and listen with the critics:

Billie Holiday’s “Body and Soul”
Bob Dylan’s “Blonde on Blonde”
Joni Mitchell’s “Blue”
The music of Laufey
“I Regret Almost Everything,” by Keith McNally
“The Palm House,” by Gwendoline Riley
“Task” (2025—)
“Die, My Love” (2025)
“Carol” (2015)
“The Price of Salt,” by Patricia Highsmith
“Surface Matters,” by Naomi Fry (The New Republic)
Geese’s “Getting Killed”
“What Went Wrong”
Richard Linklater’s “Before” trilogy
“The Ambassadors,” by Henry James
“Marty Supreme” (2025)
“Why Football Matters” (The New Yorker)

See Critics at Large live at 92NY on February 19: https://www.92ny.org/event/vinson-cunningham-naomi-fry-and-alexandra-schwartz

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

Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture.

Learn more about your ad choices. Visit podcastchoices.com/adchoices