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The New Yorker

Critics at Large is a weekly culture podcast from The New Yorker. Every Thursday, the staff writers Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss current obsessions, classic texts they’re revisiting with fresh eyes, and trends that are emerging across books, television, film, and more. The show runs the gamut of the arts and pop culture, with lively, surprising conversations about everything from Salman Rushdie to “The Real Housewives.” Through rigorous analysis and behind-the-scenes insights into The New Yorker’s reporting, the magazine’s critics help listeners make sense of our moment—and how we got here.

Critics at Large | The New Yorker

When it dropped in January of 1997, Camp Lo’s “Uptown Saturday Night” thrilled some listeners and confounded others. On the first in a series of Critics at Large interview episodes devoted to resurfacing beloved cult classics, Vinson Cunningham talks with Hanif Abdurraqib, a contributing writer for The New Yorker and a diehard fan of the Camp Lo project. Abdurraqib describes “Uptown Saturday Night,” which leaned on Blaxploitation tropes to paint a strikingly cinematic picture of New York City, as “essentially a heist film” unto itself. Together, they discuss the album’s lukewarm reception at the time, and why its creative approach to storytelling seemed to land on deaf ears. One explanation is that the hip-hop marketplace of the era was increasingly demanding that musicians pick a lane: underground or mainstream, socially conscious or unapologetically opulent. “ ‘Uptown Saturday Night’ got lost in that because it didn’t really have a foothold in either world,” Abdurraqib says. “At a time when a lot of these guys with underground roots were bending to the hyper-commercialization of hip-hop, Camp Lo never changed who they were.”

Read, watch, and listen with the critics:

Camp Lo’s “Uptown Saturday Night”

Fugees’ “The Score”

“Uptown Saturday Night” (1974)

“Midnight Express” (1978)

“The Black Connection” (1974)Dynasty’s “Adventures in the Land of Music”

Elliott Wilson’s review of “Uptown Saturday Night” (The Source)

Slum Village’s “Fan-Tas-Tic (Vol. 1)”

Puff Daddy’s “No Way Out”

Pete Rock and Camp Lo’s “80 Blocks from Tiffany’s”

Camp Lo’s “Black Hollywood”

Jay-Z’s “American Gangster”

Wyclef Jean’s “The Carnival”

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

Critics’ Cult Classics: Hanif Abdurraqib on Camp Lo’s “Uptown Saturday Night”

Colson Whitehead’s ascent in the literary world has seemed, like much of what he does, impressively effortless. Though he’s best known for “The Underground Railroad” and “The Nickel Boys”—both of which were awarded Pulitzer Prizes—his œuvre also includes a mystery set amid rival schools of elevator inspectors, a zombie novel, and an autobiographical coming-of-age story. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz survey Whitehead’s wide-ranging body of work. The hosts are joined by their fellow staff writer Julian Lucas, who recently profiled Whitehead for The New Yorker. Together, they discuss three central works: “The Underground Railroad,” which catapulted its author from literary darling to mainstream celebrity; “Sag Harbor,” which fictionalizes, barely, Whitehead’s summers in the Hamptons and the family dramas that played out there; and “Harlem Shuffle,” the first installment of the crime trilogy that concluded this month, with the publication of “Cool Machine.” On the page, Whitehead is a true Gen X ironist, transmitting heavy histories and themes with levity. Despite the occasional darkness of his subject matter, he’s also one of our funniest novelists. “He has this way of, almost like a standup comedian, drawing you into this playful patter,” Lucas says. “Then your defenses go down, and that’s when he hits you with something that grabs you emotionally, or that pulls you into a story.”

Read, watch, and listen with the critics:

“The Elusive Promise of the First Person” (The New Yorker)

“The Nickel Boys,” by Colson Whitehead

“Colson Whitehead’s Big Score,” by Julian Lucas (The New Yorker)

“The Colossus of New York,” by Colson Whitehead

“The Underground Railroad,” by Colson Whitehead

“Sag Harbor,” by Colson Whitehead

“Harlem Shuffle,” by Colson Whitehead

“Cool Machine,” by Colson Whitehead

“Why Bother?” by Jonathan Franzen (Harper’s)

“The Odyssey” (2026)

“Who Owns the Odyssey?” (The New Yorker)

“Don’t Use A.I. to Do This,” by Colson Whitehead (The New York Times)

“John Henry Days,” by Colson Whitehead

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 Irony and the Ecstasy of Colson Whitehead

The new game show “Nation’s Dumbest,” flips the classic “Jeopardy!” script on its head. The format: twelve famous-ish contestants are peppered with basic logic and trivia questions. The twist is that those who perform well are sent home, with the last one standing receiving the title of “Nation’s Dumbest.” On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz consider how the figure of the idiot has evolved over time, from Shakespearean fools—whose position of apparent ignorance allows them to speak difficult truths—to more recent “happy fools” like Austin Powers and the goofy, stunt-obsessed heroes of the “Jackass” franchise. Once a laughingstock, the idiot has reached new heights of influence in the era of A.I. summaries and the infinite scroll. Resisting stupidity can feel like an uphill battle. “Whatever it is to be smart, I’m doing this Sisyphean thing of continuing to push it up the hill, and the rock feels heavy,” Cunningham says. “The question is: is society a wind at your back, or going in the opposite direction?” 

Read, watch, and listen with the critics:

“Nation’s Dumbest” (2026-)

“Jeopardy!” (1984-)

“Austin Powers” (1997)

“Seinfeld” (1989-98)

“The White Lotus” (2021-)

“30 Rock” (2006-13)

“Tracy Morgan Turns the Drama of His Life Into Comedy,” by Vinson Cunningham (The New Yorker)

“American Humor,” by Constance Rourke

“Born Yesterday” (1950)

“Legally Blonde” (2001)

Green Day’s “American Idiot”

“Jackass: Best and Last” (2026)

Shakespeare’s “King Lear”

Shakespeare’s “Hamlet”

“A Short History of Stupidity,” by Stuart Jeffries

“The Year in Stupidity,” by Naomi Fry (The New Yorker)

“A Theory of Dumb,” by Lane Brown (New York)

“Naked Gun” (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 Golden Age of the American Idiot

In its nearly three-thousand-year history, the Odyssey has undergone as many twists and turns as its protagonist does on his journey home to Ithaca. Its origins as oral poetry suggest countless revisions before it was even put into text—and many more followed, as translators have wrestled with how best to express Homer’s ancient Greek verse in their own languages. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz consider the latest rendition, a film adaptation by the director Christopher Nolan. The movie’s two-hundred-and-fifty-million-dollar budget, A-list cast, and use of cutting-edge IMAX technology make it maximalist in every sense of the word. It’s elicited glowing reception from early viewers—and faced preëmptive criticism from the right. Drawing on the scholar Emily Wilson’s 2017 translation of the epic, Nolan has modernized the dialogue; his focus on the erosion of societal values also speaks directly to the anxieties of our era, in which so many norms and institutions feel newly precarious. “The Odyssey persists because the world does keep on evanescing behind us,” Cunningham says. “The question of how to move on is always fresh.”

Read, watch, and listen with the critics:

“The Odyssey” (2026)

“Planet of the Apes” (1968)

“Oppenheimer” (2023)

“Troy” (2004)

“Why the Odyssey Keeps Defeating Filmmakers,” by David Denby (The New Yorker)

“L’Odissea” (1968)

Emily Wilson’s translation of the Odyssey

Robert Fagles’s translation of the Odyssey

Daniel Mendelsohn’s translation of the Odyssey

“The Dark Knight” (2008)

Shakespeare’s “Hamlet”

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

Who Owns the Odyssey?

This week, to commemorate two hundred and fifty years of the American experiment, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz present an American playlist. On this special episode, the hosts hear from listeners regarding the songs that best encapsulate their feelings about the U.S. today—and offer some tracks of their own. The resulting compilation reflects the country’s turbulent history, its uncertain present, and, crucially, listeners’ hopes for its future. “What we think of as nation-building—at least if you care about art, that’s not where the real action is,” Cunningham says. “The action is in our creative response to the circumstances that we’re given. And that’s what music is all about.” 
Listen to a playlist of songs from this episode here. Featured tracks:
“Kids in America,” by Kim Wilde“Miss America,” by David Byrne“All-American Bitch,” by Olivia Rodrigo“Django Jane,” by Janelle Monáe“Help Save the Youth of America,” by Billy Bragg“Almost Cut My Hair,” by Crosby, Stills, Nash & Young“Free Fallin’,” by Tom Petty“America,” by Simon & Garfunkel“Battle Hymn of the Republic,” covered by Joan Baez“Sleep Now in the Fire,” by Rage Against the Machine“Your Flag Decal Won’t Get You Into Heaven Anymore,” by John Prine“Compared to What,” by Roberta Flack“Ohio/Machine Gun,” by The Isley Brothers“Bob Dylan's 115th Dream,” by Bob Dylan“Wild Goose Chase,” covered by Nora Brown“That’s Life,” covered by James Brown“Billy The Kid Suite,” by Aaron Copland“A Change Is Gonna Come,” by Sam Cooke
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

An American Playlist

Critics at Large will be back next week. In the meantime, you can hear Vinson Cunningham and Naomi Fry on a recent episode of The New Yorker’s Political Scene, hosted by Tyler Foggatt, where they consider several high-profile collisions of sports and politics. First, Cunningham talks to Foggatt about Donald Trump’s controversial appearance at a Knicks game during the team’s championship run. Then Fry and Foggatt discuss the U.F.C. fight that Trump hosted on the White House lawn—in celebration of America’s two-hundred-and-fiftieth anniversary, as well as his own eightieth birthday—and what it revealed about the President’s second term. Finally, the staff writer Louisa Thomas joins Foggatt to discuss how the Administration’s immigration policies, the war in Iran, and America’s precarious position on the international stage are impacting another major athletic event: the World Cup.
Tune in to The Political Scene wherever you get your podcasts.

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

From The Political Scene: The Politics of the Big Game

When “Jaws” hit theatres in 1975, no one—neither the studio executives involved nor the film’s twenty-six-year-old director, Steven Spielberg—was betting on its success. But it dominated at the box office and promptly revolutionized the way movies were promoted, distributed, and merchandised. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz trace how Spielberg inaugurated a new phenomenon in Hollywood: the blockbuster. He would tap his own playbook again and again with such hits as “Close Encounters of the Third Kind,” “E.T.,” and “Jurassic Park,” all of which drew impressive audiences and profits. The hosts talk through his filmography, culminating in his new release, “Disclosure Day,” which both replicates and iterates on themes and techniques found in his earlier work. Though other directors may share his capacity for spectacle and action-packed set pieces, much of his appeal lies in his profound earnestness. “What Spielberg is so good at is bringing the human to the fore in these extreme, sci-fi circumstances,” Schwartz says. “And that’s what makes a great blockbuster.”
Read, watch, and listen with the critics:
“Jaws” (1975)“Disclosure Day” (2026)“Minority Report” (2002)“Oscar Wars,” by Michael Schulman“What Went Wrong” ’s episode about “Jaws”“Close Encounters of the Third Kind” (1977)“Jurassic Park” (1993)“E.T.” (1982)“Alf” (1986-90)“Schindler’s List” (1993)“One Battle After Another” (2025)“American Journal,” by Robert Hayden“Heart of the Beast” (2026)“Sinners” (2025)“Nope” (2022)“Barbie” (2023)“Obsession” (2026)“Backrooms” (2026)
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

Steven Spielberg’s Blockbusters

Since the days of Aesop, stories about animals have been used to explore distinctly human values, virtues, and vices. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz consider such childhood classics as E. B. White’s “Stuart Little” and C. S. Lewis’s “Chronicles of Narnia” series, as well as “The Sheep Detectives,” a recent entry in this canon that centers on a flock who learn poignant lessons about life and loss. Works of adult literature, too, have explored the animal-human bond. Our tendency to project onto animals translates to the real world in strange ways, with figures like Timmy the Whale and Punch the Monkey going viral on our social feeds even as our day-to-day lives are more detached from the natural world than ever before. But the distance between us can be instructive, too. “Reckoning with their similarity to us and also their total strangeness to us . . . that’s where works about animals really get me,” Schwartz says. “Not just as a direct transfer onto the human experience but also this other thing that really does enrich our lives: to be in contact with species that are not our own.”
Read, watch, and listen with the critics:
Homer’s Odyssey“Stone Fox,” by John Reynolds Gardiner“The Mare,” by Mary Gaitskill“The Sheep Detectives” (2026)“Stuart Little,” by E. B. White “Bambi” (1942)“The Lion King” (1994) C. S. Lewis’s “Chronicles of Narnia” Series“Tom and Jerry” (1940-67)Aesop’s Fables“Frederick,” by Leo Lionni“ ‘Wake Up Dead Man’ and the Whodunnit Renaissance” (The New Yorker)“Zootopia” (2016) “Why Earnestness Is Everywhere” (The New Yorker)“Babe” (1995)“Tiger King” (2020-21)“Monkey Business in ‘Chimp Crazy,’ ” by Vinson Cunningham (The New Yorker)I am Bunny on TikTok
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

Why We Cling to the Animal Kingdom

This week, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz kick off the summer months with a new installment of the Critics at Large advice series. Listeners’ questions run the gamut: a high-school economics teacher seeks films for his students which aren’t set in the world of finance; a caller from Iran looks for cultural works to help endure periods of extreme uncertainty; and two friends on the cusp of college graduation ask for recommendations to guide them in their next chapter. “Art is not a thing separate from our troubles or from our awareness of the insane contingencies of life,” Cunningham says. “It’s meant as a companion and a response to those. I think that’s shining through in some of these questions.”
Read, watch, and listen with the critics:
“Sorry to Bother You” (2018)“My Architect: A Son’s Journey” (2003)“Les dites cariatides” (1984)“Twenty Minutes in Manhattan,” by Michael SorkinThe photography of Eugène AtgetThe music of the Notorious B.I.G., Heavy D, Fat Joe, and Big Pun“Sentimental Education,” by Gustave FlaubertVáclav Havel’s “Audience”“The Best of Everything,” by Rona Jaffe“How to Murder Your Life,” by Cat Marnell“Becoming a Centenarian,” by Calvin Tomkins (The New Yorker)“This Old Man,” by Roger Angell (The New Yorker)“Tabula Rasa,” by John McPhee (The New Yorker)“Kramer vs. Kramer” (1979)“Divorcing,” by Susan TaubesElena Ferrante’s Neapolitan novels“Ghost World,” by Daniel Clowes“Frances Ha” (2012)“Asparagus” (1979)Roger Payne’s “Songs of the Humpback Whale”“Raise High the Roof Beam, Carpenters and Seymour: An Introduction,” by J. D. SalingerThe poetry of Sylvia Plath, particularly “Tulips”Tony Kushner’s “Angels in America”“I Will,” by the Beatles“St. Judy’s Comet,” by Paul Simon“Sail Away Ladies,” by Odetta
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

I Need a Critic: June, 2026, Edition

For many of us, daily life is defined by a near-constant stream of decisions, from what to buy on Amazon to what to watch on Netflix. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz consider how we came to see endless selection as a fundamental right. The hosts discuss “The Age of Choice,” a book by the historian Sophia Rosenfeld, which traces how our fixation with the freedom to choose has evolved over the centuries. Today, an abundance of choice in one sphere often masks a lack of choice in others—and, with so much focus on individual rather than collective decision-making, the glut of options can contribute to a profound sense of alienation. “When all you do is choose, choose, choose, what you do is end up by yourself,” Cunningham says. “Putting yourself with people seems to be one of the salves.”
This episode originally aired on March 13, 2025. 
Read, watch, and listen with the critics:
“Could Anyone Keep Track of This Year’s Microtrends?” by Danielle Cohen (The Cut)“The Age of Choice: A History of Freedom in Modern Life,” by Sophia Rosenfeld“The Federalist Papers,” by Alexander Hamilton, James Madison, and John Jay“What Does It Take to Quit Shopping? Mute, Delete and Unsubscribe,” by Jordyn Holman and Aimee Ortiz (The New York Times)
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

Who Owns the Odyssey?

Lyt når som helst, hvor som helst

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