The Brutalist Report

The New Yorker

• Kissing Up at the Kennedy Center [10d]
• Is the Supreme Court Unsure About Birthright Citizenship? [10d]
• The Best TV Shows of 2025 [11d]
• Daily Cartoon: Monday, December 8th [11d]
• The New Studio Museum In Harlem Is a Landmark in the History of Black Art [11d]
• The Many Stages of Cynthia Nixon [11d]
• The Ancient Roots of Doing Time [11d]
• A New Afghan Bakery, in New York’s Golden Age of Bread [11d]
• Letters from Our Readers [11d]
• Briefly Noted Book Reviews [11d]
• Konrad Kay and Mickey Down, the Finance Bros Behind HBO’s “Industry” [11d]
• Marilyn Minter’s Rapturous Visions [11d]
• The New Studio Museum in Harlem Shows that Black Art Matters [11d]
• Baubles Melting on an Open Fire [11d]
• “Almost Home,” by Adrian Matejka [11d]
• Will Geese Redeem Noisy, Lawless Rock and Roll? [11d]
• Pierre-Emmanuel Lyet’s “Christmas Avenue” [11d]
• “Of the People for the People but by Me,” by Lucie Brock-Broido [11d]
• How to Leave the U.S.A. [11d]
• Oliver Sacks Put Himself Into His Case Studies. What Was the Cost? [11d]
• The Show Must Go On: A Comic Strip by Adrian Tomine [11d]
• The Many Stages of Cynthia Nixon [11d]
• What’s the Fastest Subway Line? (Yes, There Is One) [11d]
• And Your Little Dog, Too, by David Sedaris [11d]
• What Happens When an “Infinite-Money Machine” Unravels [11d]