The Brutalist Report

The New Yorker

• Elon Musk Just Highlighted His Biggest Dilemma at Twitter [1285d]
• The Inherent Contradictions in the Affirmative-Action Debate [1285d]
• Mayor Francis Suarez’s View from Miami [1285d]
• House of Horrors, 2022 Edition [1285d]
• How Republicans Claimed COVID as a Winning Campaign Issue [1285d]
• A “Hamlet” That Isn’t a Bummer [1285d]
• Daily Cartoon: Monday, October 31st [1285d]
• Elon Musk Begs Bots Not to Quit Twitter [1285d]
• A Son and His Mothers Reimagine “Suspiria” [1285d]
• Adrian Tomine’s “Fall Sweep” [1286d]
• Ebon Moss-Bachrach Gets Behind the Stove [1286d]
• Slide Show: New Yorker Cartoons November 7, 2022 [1286d]
• Is the Multiverse Where Originality Goes to Die? [1286d]
• The Mail [1286d]
• Briefly Noted Book Reviews [1286d]
• Was Jack Welch the Greatest C.E.O. of His Day—or the Worst? [1286d]
• The N.Y.C. Marathon’s River of Runners [1286d]
• “Piano,” by Edgar Kunz [1286d]
• Night of the Living Career Dead, Brill Building Edition [1286d]
• T. Coraghessan Boyle Reads “Princess” [1286d]
• How Election Subversion Went Mainstream in Pennsylvania [1286d]
• “The Wishbone,” by Joyce Carol Oates [1286d]
• The Right-Wing Mothers Fuelling the School-Board Wars [1286d]
• Into the Gizzverse with Shrimp and Juicy [1286d]
• The Goncourt Prize Gets Americanized [1286d]
• In the Studio with Andrew Cuomo, Podcaster [1286d]
• “Princess,” by T. Coraghessan Boyle [1286d]
• Weyes Blood Gives Soft Rock an Apocalyptic Edge [1286d]
• David Hare Repaves the Story of Robert Moses [1286d]
• T. Coraghessan Boyle on Crimes and Fairy Tales [1286d]
• Inflation Is Obscuring Biden’s Pro-Labor Achievements [1286d]
• A Lusty, Soul-Searching Adaptation of “Interview with the Vampire” [1286d]
• Did the Oscar-Winning Director Asghar Farhadi Steal Ideas? [1286d]
• Cartoon Caption Contest [1286d]