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The New Yorker

The New Yorker October 10, 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.

Country:
United States
Language:
English
Publisher:
Conde Nast US
Frequency:
Weekly
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47 Issues

in this issue

2 min.
contributors

Larissa MacFarquhar (“Trumptown,” p. 56) is the author of “Strangers Drowning,” which is just out in paperback. Jelani Cobb (Comment, p. 33) teaches in the journalism program at Columbia University. Sheelah Kolhatkar (The Talk of the Town, p. 38; “The Anti-Uber,” p. 40) is a staff writer. Nathan Heller (“Cashing Out,” p. 48) has been writing for the magazine since 2011. Douglas McGrath (Shouts & Murmurs, p. 47) is a filmmaker and a playwright. Tom McCarthy (“Model Behavior,” p. 72) has written four novels, including “Satin Island.” Alison Bechdel (“The Fellowship,” p. 82) is the author of two memoirs, “Fun Home” and “Are You My Mother?” Tad Friend (“Adding a Zero,” p. 68) has been a staff writer since 1998. Louis Menand (A Critic at Large, p. 90) was recently awarded the National Humanities Medal by President Obama. Shonda…

3 min.
the mail

WHY MOTIVE MATTERS In Jeffrey Toobin’s Profile of Bryan Stevenson, a remarkable lawyer and social-justice activist, the Alabama state senator Dick Brewbaker says, “Why is racially motivated violence worse than any other kind of violence? I don’t give a damn what the motive of the offender was if an act of violence was committed” (“Justice Delayed,” August 22nd). But the motive for an act carries with it the key to its prevention. Although society cannot prevent violence that results from jealousy or personal animus, violence stemming from racism is not personal. It is a learned behavior, and part of the legacy of slavery in this country, and for that reason it is preventable in ways that other types of violence may not be. Stevenson and others in the criminal-justice and educational…

55 min.
goings on about town: this week

“You don’t know that rock music exists in this age unless someone shows you,” Jacob Faber told Rolling Stone in January. Consider this your tip. As Sunflower Bean, Faber, Nick Kivlen, and Julia Cumming propose a contemporary take on lo-fi psychedelia, wearing shrewd influences on stylish sleeves. They play their latest album, “Human Ceremony,” at Music Hall of Williamsburg on Oct. 7, with its classic-rock chops, slick titles (“2013”), and New Wave aesthetics (“Easier Said”), delivered under Cumming’s runway-ready voice. CLASSICAL MUSIC OPERA Metropolitan Opera As in his 2015 staging of “Iolanta,” Mariusz Treliński’s season-opening production of “Tristan und Isolde” turns late-Romantic romance into post-Hitchcockian psychodrama. The result is risky but effective. Wagner’s opera, set mostly on a modern-day warship, now has a “Marnie”-like backstory: Tristan’s yearning for oblivion stems from the early loss…

2 min.
the theatre: the old normal

Andrew Rannells plays a gay man of another era in “Falsettos.” The thirty-eight-year-old actor Andrew Rannells is part of a new crop of gay stars—like Chris Colfer and Tituss Burgess—who never had to bother to be closeted in the public eye. Lean and boyfaced, with lacerating comic timing, he got his break in 2011, in “The Book of Mormon,” playing the bushy-tailed missionary Elder Price. (The character was nineteen, but Rannells was thirty-two at the time.) The show’s runaway success led to TV roles on “Girls,” on which he plays Hannah Horvath’s tart gay ex-boyfriend, and the short-lived sitcom “The New Normal,” about a same-sex couple in Los Angeles trying to have a child. In between, he’s squeezed in memorable stints on Broadway, replacing Jonathan Groff in “Hamilton” and Neil Patrick…

2 min.
spilling over

Doug Martsch catches up to his farreaching influence. In the twenty-four years since Doug Martsch founded Built to Spill, indie rock’s market share has waned and peaked, and waned again, shored up by sub-scenes in its low moments and heaved around by executives at its heights. It’s hard to tell where the sound stands now: indie venues and campus stations are densely programmed, and loyal fans are rabidly invested, but it’s been a long decade since Martsch said, genuinely, “I love Modest Mouse, and I’m glad they’re doing well.” Today, Built to Spill is echoed in the tones and lyrics of a dozen upstart groups, who were reared on the band’s 1997 opus, “Perfect from Now On,” and its follow-up, “Keep It Like a Secret”—the scuzzy young punks in Jank recently…

4 min.
above & beyond

New York Comic Con This culture convention has grown from a geek refuge to an all but mandatory celebration of the best in upcoming television, film, and publishing— well, it’s still a geek refuge, but there are a lot more geeks. Fans and enthusiasts will enjoy unprecedented access to stars from series such as “Game of Thrones” and “Stranger Things”; panels and workshops with the directors, producers, and industry insiders who keep the entertainment machine churning; and appearances by Matt Damon, Carrie Fisher, Kate Beckinsale, Ali Larter, Lucy Liu, Neil deGrasse Tyson, John Bernthal, and many others. The annual display of inventive costumes promises to be more outlandish than ever with the return of the NYCC Eastern Championships of Cosplay, where elaborate props and inventive concepts reign and trademarks are…