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The New Yorker

The New Yorker March 16, 2020

Founded in 1925, The New Yorker publishes the best writers of its time and has received more National Magazine Awards than any other magazine, for its groundbreaking reporting, authoritative analysis, and creative inspiration. The New Yorker takes readers beyond the weekly print magazine with the web, mobile, tablet, social media, and signature events. The New Yorker is at once a classic and at the leading edge.

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United States
Conde Nast US
47 Issues

in this issue

2 min.

Dana Goodyear (“Hot and Toxic,” p. 52) is a staff writer based in California. Peter Hessler (“Broken Bonds,” p. 34), a staff writer, most recently published “The Buried: An Archaeology of the Egyptian Revolution.” Emily Witt (“Get the Look,” p. 64) is the author of “Future Sex: A New Kind of Free Love” and “Nollywood: The Making of a Film Empire.” Daniel Mendelsohn (Books, p. 80), the editor-at-large of the New York Review of Books, most recently published “Ecstasy and Terror.” His tenth book, “Three Rings: A Tale of Exile, Narrative, and Fate,” will be out in September. Patricia Spears Jones (Poem, p. 77), the recipient of the 2017 Jackson Poetry Prize, is a poet, a playwright, and an activist. Her latest book is “A Lucent Fire.” Colin Jost (“Commuting,” p. 42) has been a…

3 min.
the mail

EXPERIMENTAL METHODS Hannah Fry asks whether tech companies’ large-scale social experiments, such as measuring the emotional impact that negative posts have on Facebook users, are sufficiently regulated (Books, March 2nd). She is right to point out that such tests are not subject to federal regulations protecting human subjects in biomedical research. But she doesn’t mention that the experiments fall outside the federal definition of “research.” The protections for human subjects set out by the Department of Health and Human Services apply only to studies that are “designed to develop or contribute to generalizable knowledge”—i.e., undertaken with the intent of public dissemination. Because market research is not meant to be seen by the public, the rules protecting human subjects are not generally applicable—and there are no equivalent federal protections for consumers whose…

39 min.
goings on about town: this week

Studio 54 looms so large in the cultural imagination that it’s hard to believe it was open only from 1977 to 1980. What made the night club so unforgettable? As Fran Lebowitz (above, in a portrait by Richard Bernstein for the September, 1981, issue of Interview) once recalled, “It was very sexy—it was still before AIDS—and there were a lot of cute people there, and it was filled with sexual intent, which I think is very important to a successful night.” Starting on March 13, the Brooklyn Museum revisits the legend in “Studio 54: Night Magic.” NIGHT LIFE Musicians and night-club proprietors lead complicated lives; it’s advisable to check in advance to confirm engagements. Peter Bernstein Village Vanguard Although Peter Bernstein cut his teeth, in the early nineties, alongside such audacious players as Brad Mehldau,…

3 min.
tables for two: verōnika

281 Park Avenue South Robin Standefer and Stephen Alesch, the married couple behind the interior-design firm Roman and Williams, met while working on a movie set. This first act seems to have informed their aesthetic at large, but of their many projects in New York—including the French restaurants Le Coucou and La Mercerie—none feels quite as cinematic as Verōnika, the restaurant in the new New York outpost of the Swedish photography museum Fotografiska. The drama begins at the reservation stage. For access to Verōnika, which is owned and operated by the upmarket restaurateur Stephen Starr, you need not only money (the menu includes imperial beluga caviar for two hundred and fifty-five dollars and lobster for fifty-six) but also connections, or staff, unless you have time to spend what feels like hours pleading…

5 min.
comment: the joe and bernie show

Donald Trump has been profligate in his attacks on the Democratic candidates for President, but Super Tuesday, with its unexpected string of victories for Joe Biden, pushed him to new heights of incoherence. At a rally in North Carolina, last Monday, he mocked “Sleepy Joe” for referring to “Super Thursday” in a speech. (Biden had, in fact, caught himself mid-word and, with a smile to the crowd, said, “I’m rushing ahead, aren’t I?”) “You know, maybe he gets in because he’s a little more moderate,” Trump said. But then he added, “They’re going to put him in a home! And other people are going to be running the country—and they’ll be super-left radical crazies.” Apart from the usual crudeness of Trump’s rhetoric, this picture of Biden as the kindly face of…

4 min.
scare town: experiential

Last week was a funny week to choose to be scared—there were so many reasons to be scared involuntarily: a deadly global pandemic, a careening primary season, a careening stock market, a Supreme Court case that could set the clock back decades on reproductive rights, and a President happily stomping all over the machinery of government (including those parts that respond to deadly global pandemics) as if he were Godzilla. So who would make an effort to be scared, and—cough, cough; sorry, just clearing our throat—in a confined public space, no less? That was the bar set for a lavish promotional stunt that took place in SoHo. The hype was for “A Quiet Place Part II,” the sequel to John Krasinski’s 2018 horror film, in which mantis-like aliens that can’t see…