Bay Area! Tickets are going fast for our In Bed with the Right live show on August 27 at Swedish American Hall! Join us for HOW TO BE A SILICON VALLEY CREEP, featuring digressions on eugenics, pronatalism, South Africa, scifi, climate change, and more. www.ticketweb.com/event/how-to...

Tickets for How to Become a Silicon Valley Creep (In 10 Easy Steps)

Find tickets for In Bed With The Right, Adrian Daub, Moira Donegan showing at the Swedish American Hall - San Francisco, US Thursday Aug 27, 6:30PM Tickets starting at $36.64

ticketweb.com

Kinda wild that @jamellebouie.net is the only person saying this clearly in a high-profile media outlet, but I'm so glad he is.

Opinion | Why Do We Tolerate Elon Musk’s Racist Commentary?

Why does the owner of X get a pass for what he says and does there?

nytimes.com

Recent shows like “Succession,” “The White Lotus,” and “Big Little Lies” have focussed on the corruption of the über-rich. 2026’s best television, though, is interested in the other side of the K-shaped economy: the downwardly mobile middle class. newyorkermag.visitlink.me/XZaBGx

Welcome to the Age of Broke TV

Soulless moguls and wealth porn are out. Amid a real-life economic downturn, the greatest shows of 2026—from “Beef” to “The Comeback”—are all about scraping by.

newyorkermag.visitlink.me

If I were an action hero, this is what I’d say to the bad guy before the kill shot.

I had a fantastic chat with Lee Sung Jin about the second season of BEEF, its eclectic origins, and its unexpected images. He also talked at length about his personal journey in the TV industry. www.newyorker.com/culture/the-...

How the Creator of “Beef” Graduated from Petty Feuds to Class Warfare

The creator of “Beef,” Lee Sung Jin, discusses tailoring dialogue to Oscar Isaac and Charles Melton, the differences between Korean and American élites, and making TV in an age of “all-gas, no-brakes ...

newyorker.com

👏👏👏

According to the “Beef” creator Lee Sung Jin, “In 2026, you really can’t talk about anything—life, marriage, love, career—without the theme of class being the variable.” www.newyorker.com/culture/the-...

How the Creator of “Beef” Graduated from Petty Feuds to Class Warfare

The creator of “Beef,” Lee Sung Jin, discusses tailoring dialogue to Oscar Isaac and Charles Melton, the differences between Korean and American élites, and making TV in an age of “all-gas, no-brakes capitalism” in an interview with Inkoo Kang.

newyorker.com

I had a fantastic chat with Lee Sung Jin about the second season of BEEF, its eclectic origins, and its unexpected images. He also talked at length about his personal journey in the TV industry. www.newyorker.com/culture/the-...

How the Creator of “Beef” Graduated from Petty Feuds to Class Warfare

The creator of “Beef,” Lee Sung Jin, discusses tailoring dialogue to Oscar Isaac and Charles Melton, the differences between Korean and American élites, and making TV in an age of “all-gas, no-brakes ...

newyorker.com

The creator of “Beef,” Lee Sung Jin, discusses tailoring dialogue to Oscar Isaac and Charles Melton, the differences between Korean and American élites, and making TV in an age of “all-gas, no-brakes capitalism” in an interview with Inkoo Kang. www.newyorker.com/culture/the-...

How the Creator of “Beef” Graduated from Petty Feuds to Class Warfare

The creator of “Beef,” Lee Sung Jin, discusses tailoring dialogue to Oscar Isaac and Charles Melton, the differences between Korean and American élites, and making TV in an age of “all-gas, no-brakes capitalism” in an interview with Inkoo Kang.

newyorker.com

I don't recall any previous transformative technologies that had to be sold to the public so hard. No one in 1999 was going, "Guys. Cell phone? It's coming, whether we like it or not. I think it's important, FOR WOMEN ESPECIALLY, to learn about cell phone. So that we're not left behind!!"

A modest tax on second homes is the scariest thing this rich lady has ever seen.

Jared Holt@jaredlholt.bsky.social · 5mo ago

Zohran Mamdani said he's going to start taxing rich people who buy luxury housing in NYC but don't actually live in there, and the former CEO of Twitter/X called it "actually one of the scariest things I have ever seen."

New episode! On @inbedwiththeright.bsky.social, @adriandaub.bsky.social and I talk “looksmaxxing,” the movement’s parallels in incel, pro-ana, and wellness communities, and the looksmaxxer sexual politics of heterosexuality without women. We’re podcastmaxxing. pod.link/1696774612/e...

The first season of “Jury Duty” had a carefully curated feel-good vibe that seemed to exceed even the novel premise as the primary source of its appeal. But that very quality renders the follow-up unnecessary, @inkookang.bsky.social writes. newyorkermag.visitlink.me/RFubxr

“Jury Duty Presents: Company Retreat” and Age of the Prestige Prank Show

The series, returning for a second season, is the latest example of a new breed—one that relies on elaborate, full-immersion experiments rather than on one-off stunts.

newyorkermag.visitlink.me

Might be the greatest opening paragraph of anything ever.

Jordan@jordanpfot.bsky.social · 5mo ago

Have you read this? www.lrb.co.uk/the-paper/v4...

Loved the fact that various Oscar bits and clips "spoiled" the endings of ONE BATTLE AFTER ANOTHER and WEAPONS and other films last night. It was almost like the show had finally stopped worrying about appealing to people who don't bother to watch the movies. www.vulture.com/article/the-...

Finally, an Oscars for People Who Actually Bother to Watch Movies

In between spoilers for movies like Weapons and One Battle After Another, the 2026 ceremony took aim at the tech bros and execs threatening cinema.

vulture.com

The HBO drama “Industry” recognizes the way its characters are thwarted by Britain’s class system, but “it’s more interested in how their grievances fuel preëxisting personality defects, curdling ambition into insatiability,” @inkookang.bsky.social writes. newyorkermag.visitlink.me/xirM9G

“Industry” Is a Study in Wasted Youths

In the new season of the hit HBO series, its young protagonists have left the trading floor that made them. Their second acts are revealing.

newyorkermag.visitlink.me

The HBO drama “Industry” recognizes the way its characters are thwarted by Britain’s class system, but “it’s more interested in how their grievances fuel preëxisting personality defects, curdling ambition into insatiability,” @inkookang.bsky.social writes. newyorkermag.visitlink.me/xirM9G

“Industry” Is a Study in Wasted Youths

In the new season of the hit HBO series, its young protagonists have left the trading floor that made them. Their second acts are revealing.

newyorkermag.visitlink.me

The genius of Sally Wainwright’s irresistible new series “Riot Women” lies in connecting individual woes to societal failures. The show “dramatizes how women pick up the pieces as institutions crumble around them,” @inkookang.bsky.social writes. newyorkermag.visitlink.me/a1tBYY

In “Riot Women,” the Punks Are All Grown Up

Sally Wainwright’s irresistible new series follows a group of middle-aged women who start a band—and find an outlet for the kinds of female grievances that tend to go unsung.

newyorkermag.visitlink.me

Whatever you think of the Washington Post at this moment, here's a chance to support the dedicated, hard-working journalists who were just laid off. If you have the means, your donation is most welcome. If you don't, a kind thought and maybe spreading the word to others is support enough 💙

Donate to Washington Post 2026 layoff fund, organized by Rachel Siegel

On Wednesday, Feb. 4, 2026, The Washington Post laid off hundreds of journalists. We ar… Rachel Siegel needs your support for Washington Post 2026 layoff fund

gofundme.com

What an absolutely brutal fucking day.

With “The Beauty,” a new FX series starring Ashton Kutcher, Ryan Murphy attempts to comment on incels, celebrity culture, and the age of Ozempic. www.newyorker.com/culture/on-t...

“The Beauty” Is a Hot Mess

Ryan Murphy attempts to comment on incels, celebrity culture, and the age of Ozempic in a new FX series about a drug that makes its users young and gorgeous, at a terrible price.

newyorker.com

Our TV critic picks the 10 best shows of the year. newyorkermag.visitlink.me/Y61B_-

The Best TV Shows of 2025

This year, Hollywood’s decline was evident from its output—but a few great, conversation-starting shows made our critic crave the return of the water cooler.

newyorkermag.visitlink.me

Sterlin Harjo’s new series, “The Lowdown,” starring Ethan Hawke as a citizen journalist determined to expose the crimes of the élite, is at once rollicking and timely, @inkookang.bsky.social writes. Read her review.

“The Lowdown” Is a Noir for Our Era

Sterlin Harjo’s new series, starring Ethan Hawke as a citizen journalist determined to expose the crimes of the élite, is at once rollicking and timely.

newyorker.com

The Trump Administration’s attack on late-night TV is part of a much broader agenda, @inkookang.bsky.social writes.

How Donald Trump’s Culture-Wars Playbook Felled Jimmy Kimmel

The late-night host’s show was pulled from the air after an F.C.C. pressure campaign—one that’s part of a much broader Presidential agenda.

newyorker.com

Many in Hollywood have concluded that they have to win back audiences by producing more content that represents red-state values. “There’s an experimental energy in the crop of shows catering to this newly prized demographic,” @inkookang.bsky.social‬ writes.

Hollywood’s Conservative Pivot

After the success of “Yellowstone” and “The Chosen,” the industry is chasing other red-state hits—an uneasy context for the revival of the Texas-set “King of the Hill.”

newyorker.com

Is “And Just Like That” bad enough to retroactively diminish its predecessor? “I’d argue yes,” @inkookang.bsky.social writes.

“And Just Like That . . . ,” Carrie Bradshaw Bids an Unsatisfying Farewell

The series sequel to “Sex and the City” ends with an abrupt, disappointing finale.

newyorker.com

With its quicksilver shifts and sneaking sweetness, the experience of watching “Too Much” feels a lot like falling in love, @inkookang.bsky.social‬ writes.

“Too Much” Remixes the Rom-Com

In her new Netflix show, Lena Dunham revitalizes the genre by delving into her characters’ pre-meet-cute pasts—and all the attendant emotional baggage.

newyorker.com

With its quicksilver shifts and sneaking sweetness, the experience of watching “Too Much” feels a lot like falling in love, @inkookang.bsky.social writes.

“Too Much” Remixes the Rom-Com

In her new Netflix show, Lena Dunham revitalizes the genre by delving into her characters’ pre-meet-cute pasts—and all the attendant emotional baggage.

newyorker.com

more than 8,000 journalists have been laid off since 2022. That's 9% of the industry.

Peter Sagal@petersagal.bsky.social · last yr.

What’s common knowledge in your field but shocks outsiders? Not everything you think should be said out loud.