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The New Yorker @NewYorker
Could an A.I. chatbot “ultimately do my job as a columnist?” @jaycaspiankang asks. “Could it produce political opinions and prose drawn from nearly 100 years of New Yorker writers?” https://t.co/hkYJtm4o9C — PolitiTweet.org
The New Yorker @NewYorker
New releases of previously unissued recordings by the pianist Ahmad Jamal and his trio, from 1966, might use acoustic instruments, but they feel plugged in. https://t.co/FcWBwb6KRE — PolitiTweet.org
The New Yorker @NewYorker
Metallica’s music is rooted in feelings of marginalization, and the band, despite its achievements, has found a way to maintain that point of view for more than 40 years. https://t.co/HxweRWizme — PolitiTweet.org
The New Yorker @NewYorker
“October 15th: This month, my priority is indicting Trump. If I can just free up a couple of hours, I feel like I’ve got him.” Merrick Garland’s procrastination diary, as imagined by @AnandWrites. https://t.co/uPCjwczAVH — PolitiTweet.org
The New Yorker @NewYorker
The inclusion of recent films on Sight and Sound’s poll for the Greatest Films of All Time shows “that the past decade has been a time of drastic transformation in the world of movies,” @tnyfrontrow writes. https://t.co/z3cQjZQ60q — PolitiTweet.org
The New Yorker @NewYorker
“Performance is a kind of alchemy,” @MJSchulman writes, “so it’s rare that we get a controlled experiment that reveals how measurably it can swing a work of art.” Lea Michele’s Fanny, in the Broadway revival of “Funny Girl,” did just that. https://t.co/FQN8cA97j5 — PolitiTweet.org
The New Yorker @NewYorker
Last month, the San Francisco Board of Supervisors voted in favor of allowing the city’s police department to deploy robots equipped with a potential to kill, should a situation call for lethal force. https://t.co/QWHAgsAAyk — PolitiTweet.org
The New Yorker @NewYorker
The geneticist Kathryn Paige Harden seeks to convince progressives that, in the fight for social justice, genes matter: “Building a commitment to egalitarianism on our genetic uniformity is building a house on sand,” Harden writes. https://t.co/mUFIJZ7tB1 — PolitiTweet.org
The New Yorker @NewYorker
“So much of the act of watching sport is about making a story, willing a memory into existence—imagining how we want things to be—only for something more prosaic and unexpected to happen in its place.” @samknightwrites reports from the 2022 World Cup. https://t.co/yz7LTmViRk — PolitiTweet.org
The New Yorker @NewYorker
Paul Whelan made for an unsuspecting, and thoroughly unlucky, target. “Russia says it caught James Bond on a spy mission,” he told assembled reporters during a hearing in Moscow. “In reality, they abducted Mr. Bean on holiday.” https://t.co/RtdN6sJnrv — PolitiTweet.org
The New Yorker @NewYorker
See all of the New Yorker’s Essential Reads of 2022—“An Immense World,” by Ed Yong; “Bad Mexicans,” by Kelly Lytle Hernández, “Checkout 19,” by Claire-Louise Bennett; and more. https://t.co/koBn1lACJ3 — PolitiTweet.org
The New Yorker @NewYorker
“For fans, one of the most reliable narrative tropes is redemption,” Dexter Filkins writes. This year, the Dolphins wowed N.F.L. viewers with the vindication of the team’s chief protagonist, Tua Tagovailoa. https://t.co/u09Sa7gay0 — PolitiTweet.org
The New Yorker @NewYorker
Trevor Noah concluded his seven-year run at “The Daily Show” this week, to the end an awkward fit for a role that, admittedly, was near-impossible to fill. https://t.co/N0WagkTOt4 — PolitiTweet.org
The New Yorker @NewYorker
On Wednesday, China announced that it would ease its stringent pandemic restrictions. @IChotiner speaks with an expert on Chinese politics about whether the protests directly caused the policy changes. https://t.co/Fu4WNbQTQy — PolitiTweet.org
The New Yorker @NewYorker
What happens when anyone who wants a decent job can get one? An experimental guaranteed-employment program in the Austrian town of Gramatneusiedl seeks to find out. https://t.co/gqYMfeim5F — PolitiTweet.org
The New Yorker @NewYorker
“I slightly distrust anyone who claims to enjoy writing. Directing is the fun part,” the “Knives Out” director Rian Johnson says. https://t.co/LbZXZzGnCA — PolitiTweet.org
The New Yorker @NewYorker
“My octogenarian dad wanted to study Homer’s epic and learn its lessons about life’s journeys. First he took my class. Then we sailed for Ithaca.” https://t.co/Mo3fkYwSSM — PolitiTweet.org
The New Yorker @NewYorker
In @newyorkerhumor: Money comes and goes. Here are the most embarrassing ways to lose $8 billion. https://t.co/ZFb4en1s3E — PolitiTweet.org
The New Yorker @NewYorker
A poem by @kathdriskell. https://t.co/dZ8e8FG22k https://t.co/xPYYw5opca — PolitiTweet.org
The New Yorker @NewYorker
As technology has altered the form that music takes—records, then cassettes, then CDs, then MP3s, then streams—the industry has found new ways to monetize the thing that never changes: the connection a song creates between an artist and a fan. https://t.co/6qX94IMd1k — PolitiTweet.org
The New Yorker @NewYorker
Among her lines written on letters, envelopes, and chocolate wrappers, Emily Dickinson’s incandescent thinking is everywhere on display. The poet was born on this day in 1830. https://t.co/CoHjxJBGkK — PolitiTweet.org
The New Yorker @NewYorker
“In this way, she was able to accept her fate in silence, though an angry power began to grow in her, a force from which the future would be born. In time. All in good time.” Fiction by Salman Rushdie. https://t.co/J9jXCCXj6Y — PolitiTweet.org
The New Yorker @NewYorker
At San Jeronimo Restaurant and Bakery, in Staten Island, get the Molcajete 5 Carnes: a dish of sizzling meats, vegetables, and grilled quesillo, fetchingly fanned in a mortar carved from volcanic rock. https://t.co/RJZh4ZdksX — PolitiTweet.org
The New Yorker @NewYorker
The 1999 movie “Drop Dead Gorgeous” is offensive, for sure—but it is also hilarious, surprisingly tender, and lavishly, magnificently absurd, @jiatolentino writes. https://t.co/6jEdqV8Mss — PolitiTweet.org
The New Yorker @NewYorker
A cartoon by Teresa Burns Parkhurst. #NewYorkerCartoons https://t.co/9apP10g9HA — PolitiTweet.org
The New Yorker @NewYorker
The short film “The Clearing” uses a mix of mundane and surreal stop-motion to dramatize the power struggle between a married couple. Watch here. https://t.co/FOthsnycxN — PolitiTweet.org
The New Yorker @NewYorker
Can the word “mother” ever be divorced from femininity and womanhood? Constance Debré’s new book, “Love Me Tender,” explores that question. https://t.co/J77FRrFyBb — PolitiTweet.org
The New Yorker @NewYorker
Celebrity was an essential component of the Trump phenomenon. Has that aspect of the Republican strategy hit a dead end? https://t.co/twLSsRqGRf — PolitiTweet.org
The New Yorker @NewYorker
Eren Orbey writes about Rebecca Kiessling, an attorney and pro-life activist who aims to end rape exceptions in abortion bans, the legal provisions that allow pregnant victims special access to the procedure. https://t.co/b3tWhHt37v — PolitiTweet.org
The New Yorker @NewYorker
“The Barefoot Contessa,” Joseph L. Mankiewicz’s 1954 film, is perhaps the most elaborately structured Hollywood film since “Citizen Kane,” @tnyfrontrow writes. https://t.co/c9aTWsaYYg — PolitiTweet.org
