CRITICS AT LARGE
ABOUT THE PODCAST podcasts
Critics at Large is The New Yorker's weekly culture podcast, delving into today's cultural fascinations, classic works seen with fresh eyes, and the trends shaping books, television, film, and more. But for me, this podcast is more than a source of compelling insights—it feels as if someone has captured my own aspirations and crafted them into this remarkable series.
Every Thursday, staff writers Vinson Cunningham, Naomi Fry, and Alexandra Schwartz lead discussions that combine deep analysis with insider perspectives, helping listeners make sense of our cultural moment and the journeys that brought us here. It's an exhilarating experience to follow along with them!
Since discovering The New Yorker, I've dreamed of becoming a cultural critic, diving into the layers of art, literature, and society. As my career and studies evolved, my passion for these themes only deepened. That's why Critics at Large resonates so strongly with me; it mirrors my love for thoughtful conversation and guides me through cultural currents and profound discussions.
This podcast truly embodies everything I value and aspire to in culture and storytelling—an ongoing journey into understanding the world. I'd recommend it to anyone with a curious and insatiable soul like mine.
MEET THE HOSTS mic
Vinson Cunningham arrow_drop_down
Vinson Cunningham has been a staff writer at The New Yorker since 2016 and became a critic for the magazine in 2018, covering theater, television, and broader cultural topics. A celebrated writer, he was a Pulitzer Prize finalist for criticism in 2024 and received the George Jean Nathan Award for Dramatic Criticism for 2021-2022. His work also earned him a National Magazine Award finalist nomination in 2020 for his profile of comedian Tracy Morgan. Cunningham teaches at both the Yale School of Art and Columbia University's School of the Arts. His début novel, Great Expectations, was published in 2024.
Naomi Fry arrow_drop_down
Naomi Fry has been a staff writer at The New Yorker since 2018 and is a frequent contributor to the weekly Critic's Notebook column. Her writing, which often explores themes in popular culture, literature, and art, has also been featured in The New York Times Book Review, The New York Times Magazine, Artforum, and n+1, among other publications. Fry holds a master's degree in English from Johns Hopkins University and has taught at New York University and the Rhode Island School of Design. Originally from Israel, she now resides in Brooklyn.
Alexandra Schwartz arrow_drop_down
Alexandra Schwartz joined The New Yorker as part of the editorial team in 2013 and became a staff writer in 2016. Known for her insightful and compelling coverage, she has profiled celebrated authors like Jennifer Egan, Miriam Toews, Vivian Gornick, and Ayad Akhtar. In 2014, Schwartz received the National Book Critics Circle's Nona Balakian Citation for Excellence in Reviewing. Her work spans a variety of subjects, including in-depth reporting on literature, the nuances of French culture (including her coverage of the Paris terror attacks in November 2015), and explorations of New York City's latest developments.
EPISODE HIGHLIGHTS highlight
New Midlife Crisis
The critics examine how the midlife crisis, once largely seen as a male experience, has evolved with societal shifts since the women's rights movement, leading to a new archetype. The hosts discuss how novels like Miranda July's All Four have redefined the genre for the modern age. “I think the crisis of midlife,” Schwartz notes, “is just the crisis of life, period. You invent it for yourself.”
The Therapy
In this episode, the critics explore portrayals of therapy, from Woody Allen's works and The Sopranos to newer representations in Shrinking and Couples Therapy. They discuss how mental-health awareness has grown, with the rise of therapists on social media putting psychoanalytic language and concepts into the hands of a broader audience. But is the therapy boom making us better?
Alice Munro's Fall
The critics discuss how we respond when beloved artists are associated with unforgivable actions. Have the years since the #MeToo movement given us more nuanced ways to handle these situations beyond outright cancellation? “It's more a feeling of, Maybe I don't want to discard the work entirely—but I do need to grapple with it", Schwartz reflects.
The Substance
The critics discuss Coralie Fargeat's film theme whereas delving into society's obsession with physical form. “We are embodied. It is a struggle. It is beautiful. It's something to wrestle with forever. Just as you think that you've caught up to your current embodiment, something changes,” Schwartz says. “And so how do we make our peace with it?”