The Brutalist Report

The New Yorker

• Wes Anderson’s Roald Dahl Quartet Abounds in Audacious Artifice and Stinging Political Critique [919d]
• London Breed’s Cynical Swing to the Right [920d]
• Daily Cartoon: Monday, October 2nd [920d]
• Matt Gaetz Accuses Kevin McCarthy of Behaving Like an Adult [920d]
• What We Did Before the Sandwich [920d]
• What Really Started the Great Chicago Fire? [920d]
• Alliance Defending Freedom’s Crusade Against Trans Rights [920d]
• Among the Cabin Fanatics of Mississippi’s Giant Houseparty [920d]
• Briefly Noted Book Reviews [920d]
• Should Biden Push for Regime Change in Russia? [920d]
• Josh Gad and Andrew Rannells Channel Two Pals from Junior High [920d]
• The Mail [920d]
• Other Detectors [920d]
• “Hares,” by A. E. Stallings [920d]
• “Heart,” by Shuang Xuetao [920d]
• How Queer Is “Frankenstein”? [920d]
• A Drummer’s-Eye View of the Arctic Monkeys [920d]
• Shuang Xuetao on Labor and the Heart [920d]
• Nicole Rifkin’s “On the M Train” [920d]
• “After My Father’s Cremation,” by Pablo Medina [920d]
• “Ed Ruscha / Now Then,” Reviewed: A Blockbuster Retrospective at MOMA [920d]
• The Musical Legacy of a Mississippi Prison Farm [920d]
• Flotsam, Jetsam, and a Soprano Amid the Black Mayonnaise [920d]
• Slide Show: New Yorker Cartoons October 9, 2023 [920d]
• The Best Thirst Traps Money Can Buy [920d]
• Kwame Onwuachi’s Cuisine of the Self [920d]