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The New Yorker

The New Yorker June 27, 2016

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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47 Issues

in this issue

2 min.

Evan Osnos (“Making a Killing,” p. 36) writes about politics and foreign affairs for The New Yorker. His book “Age of Ambition” won the 2014 National Book Award for nonfiction. Amy Davidson (Comment, p. 17), a staff writer, contributes regularly to Comment and to newyorker.com. Jill Lepore (“The Woman Card,” p. 22) is a professor of history at Harvard. She is writing a history of the United States. Ben Taub (“The Shadow Doctors,” p. 28), a 2015 graduate of Columbia University’s journalism school, is a contributor to the magazine. Michael Schulman (The Talk of the Town, p. 18), the theatre editor of Goings On About Town, published his first book, “Her Again: Becoming Meryl Streep,” in April. Frank Viva (Cover) is an illustrator and a graphic designer. “Sea Change” is his latest children’s book. Paige Williams…

3 min.
the mail

FREEZE FRAME Andrew Marantz’s article on how filmmakers are embracing virtual reality— and the technical, narrative, and visual challenges they face when they do— seemed to me to reveal the unnatural fit between V.R. and movies, rather than depict how well they work together (“Studio 360,” April 25th). Talented story tellers show the audience exactly what they want the audience to see: no more and no less. They create a condensed and sculpted reality. So how does a storyteller function if his audience can see and hear everything that’s happening outside the intended field of view? V.R. will be transformative, but in other areas, like gaming, and in still undeveloped creations blending experiential images and sound. V.R. technology is finally reaching its technical and economic tipping point, and the field that…

37 min.
goings on about town: this week

Charlotte Brontë complained of Jane Austen, “The Passions are perfectly unknown to her.” But Brontë never saw the Bedlam company’s hurtling, ardent staging of “Sense & Sensibility,” which has returned to the Gym at Judson for an encore. Under the direction of Eric Tucker, Kate Hamill (who adapted the novel) plays the impetuous Marianne Dashwood and Andrus Nichols is the more circumspect Elinor, two sisters rendered financially impecunious and emotionally adrift following the death of their father. MOVIES OPENING Free State of Jones A Civil War drama, based on the true story of a Mississippi farmer (Matthew McConaughey) who leads a revolt against the Confederacy. Directed by Gary Ross; co-starring Keri Russell, Gugu Mbatha-Raw, and Mahershala Ali. Opening June 24. (In wide release.) •Independence Day: Resurgence Roland Emmerich directed this sequel to his…

3 min.
earth angel

Arlene Shechet is the first living artist to exhibit in depth at the Frick. Given the whimsical beauty and deep smarts of her installation in the museum’s portico, which pairs early-eighteenth-century Meissen porcelains with sculptures that Shechet recently made at the same German factory, she won’t be the last. But her show, called “No Simple Matter,” is a triumph that could have been a disaster, a paragon of old-master virtue jumping on the make-it-new bandwagon. The Frick’s curator of decorative arts, Charlotte Vignon, deserves major credit for taking the risk. So does the collector Henry H. Arnhold, who gave Shechet free rein of his trove of hand-painted plates, bowls, vases, tea services, and sublimely absurd figurines. They were made in Meissen, just forty minutes outside Arnhold’s home town of Dresden,…

3 min.
family ties

Two of the major, and majorly beautiful, monologues in Branden Jacobs-Jenkins’s new play, “War” (at the Claire Tow, through July 3), are spoken by Charlayne Woodard. She plays Roberta, a mother with two adult children, who is and is not present in the opening moments of the first scene. You see, Roberta is in a coma; she had a stroke while spending time with a sibling, Elfriede (Michele Shay, who, like Woodard, has a beautiful voice), whom she did not grow up with. Their father had two different families, worlds and cultures apart. So as we meet the strange amalgam of Roberta’s different worlds arrayed around her hospital bed, the real Roberta, dressed in white, floats into our line of vision; she’s watching the family as she watches us, wondering…

3 min.
above & beyond

“Games for Change” “If,” a subscription-based game for the iPad, is designed to help children develop decision- making skills through an emphasis on empathy and compassion: two populations of cats and dogs are warring in the fictional town of Greenberry, and the player must find a way to bring about peace. The video game’s developer, Trip Hawkins, created the hugely successful “Madden NFL” franchise, but calls “If” his biggest accomplishment yet. The “Games for Change” festival elevates socially minded games like these, cultivating investors and providing platforms for designers and publishers hoping to leverage gaming technology’s enormous appeal for public good. This year’s festival will include programs on early-childhood development, gender dynamics, and V.R.’s potential as an educational tool. (Parsons School of Design, 66 Fifth Ave. 212-242-4922. June 23-24.) Pride March Despite its…