The Brutalist Report - newyorker
- Biden’s Fate Is Now Inextricably Linked to Putin’s War in Ukraine [1246d]
- Jill Lepore on Parents’ Rights and the Culture War [1247d]
- Will Smith Made the Oscars Memorable [1247d]
- Dear Pepper: Sweet Little Lies [1247d]
- Introducing The New Yorker’s New Daily Newsletter [1247d]
- What It Felt Like in the Room When Will Smith Slapped Chris Rock at the Oscars [1247d]
- Daily Cartoon: Monday, March 28th [1247d]
- The Day Foreign Journalists Felt Forced to Leave Moscow [1247d]
- Instead of a Dog, We Got Puck [1247d]
- Robert Eggers’s Historical Visions Go Mainstream [1247d]
- “A Childhood” Is One of the Finest Memoirs Ever Written [1247d]
- Tom Brady’s Time with the Family [1247d]
- “Smidgins,” by Rae Armantrout [1247d]
- “The Ukraine,” by Artem Chapeye [1247d]
- The Mail [1247d]
- Briefly Noted Book Reviews [1247d]
- A Secret Voyage Across the Seven Seas of Central Park [1247d]
- Slide Show: New Yorker Cartoons April 4, 2022 [1247d]
- The Comforts of “WeCrashed” and the Modern Grifter Series [1247d]
- How an Ivy League School Turned Against a Student [1247d]
- The British Empire Was Much Worse Than You Realize [1247d]
- Mark Ulriksen’s “Stellar Night” [1247d]
- “How to Come Out of Lockdown,” by Jim Moore [1247d]
- The Masterpiece in Your Trash [1247d]
- A Syrian Photographer’s Gift to Refugee Children [1247d]
- Artem Chapeye on Defending Ukraine [1247d]
- Lucky-Go-Happy [1247d]
- Killing Wolves to Own the Libs? [1247d]
- Alex Edelman Gets Political in “Just for Us” [1247d]
- Valérie Lemercier’s Céline Dion Kinda-Bio-Pic [1247d]
- The Overcrammed, Overrushed, Frenetic, Joyless, and Briefly Violent 2022 Oscars Ceremony [1247d]
- Will Smith’s Slap, and the Ecstatic Blur That Followed, at the Oscars [1247d]
- Oscars Fashion 2022: The Young and the Shirtless [1247d]
- Cartoon Caption Contest [1247d]
Previous Day