The Political and Imaginative Power of Art

One of the most fundamental features of art is its ability to meet us during times of distress. In the early days of the pandemic, many people turned to comfort reads and beloved films as a form of escapism; more recently, in the wake of the election, shows such as “The Great British Bake Off” have been offered up on group chats as a balm. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz consider the value—and limits—of seeking solace in culture. Comfort art has flourished in recent years, as evidenced by the rise of genres such as“romantasy” and the “cozy thriller.” But where is the line between using art as a salve and tuning out at a moment when politics demands our engagement? “One of the purposes of the comfort we seek is to sustain us,” Schwartz says. “That’s what we all are going to need: sustenance to move forward.” 

Read, watch, and listen with the critics:

“The Crown” (2016-2023)
“Sesame Street” (1969-)
“The Great British Bake Off” (2010-)
“In Tumultuous Times, Readers Turn to ‘Healing Fiction,’ ” by Alexandra Alter (The New York Times)
Charles Schulz’s “Peanuts” (1950-2000)
“Uncut Gems” (2019)
“Somebody Somewhere” (2022-)
“3 Terrific Specials to Distract You from the News,” by Jason Zinoman (The New York Times)
“Tom Papa: Home Free” (2024)
“America, Don’t Succumb to Escapism,” by Kristen Ghodsee (The New Republic)
“Candide,” by Voltaire
Beth Stern’s Instagram
“Janet Planet” (2023)
Marvin Gaye’s “What's Going On”
Donny Hathaway’s “Extension of a Man”

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