Critics at Large | The New Yorker

Examining Dave Chappelle's controversial Netflix special and the evolving role of comedians in society; analyzing the impact of comedy on identity and relatability; discussing the history of comedic censorship; unveiling the hidden secret of Dr. Serhat and exploring the significance of comedy in bridging societal divisions; exploring the challenges of comedy in building communities and catering to different preferences.

The podcast features staff writers Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discussing the art and purpose of criticism. They reflect on the work of legendary practitioner Joan Acocella and explore their own formative influences. They discuss the challenges of arts journalism and the role of a critic in making elevated material relatable. The speakers also explore the impact of criticism in providing comfort and connection. They discuss the current crisis in criticism, the decline of arts criticism, and the rise of online platforms. The importance of supporting the artistic ecosystem through professional criticism is emphasized.

Exploring the rise of 'slowness culture' and its potential for better living. Discussing Jenny Odell's work, reclaiming time, and the implications of an individual's commitment to leisure on the collective level. Exploring the paradox of slowness in a fast-paced world and the concept of public napping. Delving into the historical perspective of attention and critique of modernity. Connecting slowness to the labor movement and the importance of reclaiming humanness.

In this episode, the hosts discuss films that subvert cliched portrayals of artists and explore the complexities of the creative process. They examine movies like 'Maestro' and 'May December' that delve into the tension between an artist's private and public life. The hosts analyze Todd Haynes' film 'May December' and its exploration of method acting. They also discuss the challenges and dualities of an artist's life, including economic realities and the integration into artistic communities.

After six decades as an icon in country music, it’s hard to imagine Dolly Parton had anything to prove.  But when she was inducted into the Rock & Roll Hall of Fame, in 2022, she admitted to feeling uneasy.  A result of that feeling is “Rockstar,” the 77-year-old’s first foray into rock music.  “I wanted the rock people to be proud of me, let’s put it that way,” Parton tells the contributor Emily Lordi. “I wanted them to say, ‘Did you hear Dolly’s rock album? Man, she killed it.’ ” For this album, which is largely comprised of covers of classic rock songs like “Freebird” along with originals like the title track, Parton channeled the likes of Joan Jett and Melissa Etheridge (who also both appear on the album).  She didn’t want to make a countryfied rock album, but even at a full roar, her voice is unmistakable Dolly. “It’s a voice you know when you hear it, whether you like it or not,” Parton says. The artist is known for avoiding comment on political subjects, but she describes the volatile state of the culture in her song “World on Fire.” “The only way I know how to fight back is to write songs to say how I feel,” Parton says. “It’s just me trying to throw some light on some dark subjects these days.” Learn about your ad choices: dovetail.prx.org/ad-choices

The podcast explores the theme of the 'Year of the Doll' in popular culture, discussing movies like Barbie and Poor Things, Sofia Coppola's film Priscilla, and Emma Cline's novel The Guest. The hosts examine the doll-like aesthetic and its connection to women's bodily autonomy, beauty standards, and political backsliding. They also discuss the visual appeal and symbolism of 'Priscilla', the trapped doll concept, and the awakening of white women to these issues. The episode ends with an interview with Dolly and a break announcement for the new year.

In the weeks since George Santos was expelled from Congress, his story has been funnelled straight into the entertainment pipeline, from a memorable sketch on “Saturday Night Live” and reports of a film in the works at HBO to his own exploits on Cameo, where he’s charging five hundred dollars apiece for personalized video messages. On this episode of Critics at Large, the staff writers Vinson Cunningham, Naomi Fry, and Alexandra Schwartz assess why Santos’s story resonates with audiences, and the enduring appeal of the scammer narrative, from Herman Melville’s “The Confidence-Man” to Meredith Wilson’s “The Music Man.” Scammers embody—and exploit—a central tenet of the American Dream: the promise of a brighter future awaiting those audacious enough to reach for it. But their stories can also expose the weaknesses at the heart of our institutions. Why, then, do we keep coming back for more? “The level of enjoyment that we gain from these depictions of scams doesn’t mean that the critique isn’t there,” Fry says. “It’s almost like we as audiences are also begging, ‘Please make this fun for us.’ ”Read, watch, and listen with the critics:“Every Day’s a Holiday” (1937)“Inventing Anna” (2022)“Telemarketers” (2023)“The Confidence-Man,” by Herman Melville“The Dropout” (2022)“The Fabulist,” by Mark Chiusano“The Inventor: Out for Blood in Silicon Valley” (2019)“The Music Man” (1957)“The Postman Always Rings Twice” (1946)The “Simpsons” episode “Marge vs. the Monorail” (1993)“The Wolf of Wall Street” (2013)“Trafficked With Mariana van Zeller” (2020 – present)New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices

Hayao Miyazaki, renowned animator and director, is discussed by critics in this episode. They explore themes from his films including bittersweet depictions of childhood, technology's allure and danger, and the philosophical underpinnings of his latest semi-autobiographical work. The hosts also discuss Miyazaki's ability to convey realistic horrors and historical context, the ecological themes in 'The Boy and the Heron,' and the resilience of children in facing challenges.

The hosts discuss their favorite period dramas, including 'Little Women' and 'Bright Star', and how the genre is changing. They explore the allure and visual spectacle of period dramas, as well as the clash between ideals and realities. They also examine the shift in period dramas towards incorporating contemporary elements and exploring racial aspects. Lastly, they explore the rise of modern period dramas and speculate on the future of the genre.

Samantha Irby’s latest essay collection, “Quietly Hostile,” cemented her place as one of the great professionally funny people working today. Her books and her writing for such TV shows as “Shrill” and “Tuca & Bertie” are distinguished by a no-holds-barred, raunchy, often scatological brand of humor and a willingness to poke fun at just about anything—including herself. In a live taping of Critics at Large at this year’s New Yorker Festival, the staff writers Vinson Cunningham, Naomi Fry, and Alexandra Schwartz sat down with Irby to unpack her approach. They discussed humor as a coping mechanism; her work on the “Sex and the City” reboot, “And Just Like That . . .,” and the ensuing backlash; and how the Internet has transformed the comedy landscape. “What people enjoy is so varied,” Irby says. “The future is you finding very specific things that delight you, and having them readily available.”New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices