The Brutalist Report

The New Yorker

• The New “Nosferatu” Drains the Life from Its Predecessor [593d]
• How Much Does Our Language Shape Our Thinking? [593d]
• The Year the Metropolitan Opera Declared War on the Critics [593d]
• “Bass Lake,” by Safia Elhillo [593d]
• “Black Doves” Offers a Sentimental Spin on the Spy Genre [593d]
• Daily Cartoon: Monday, December 23rd [593d]
• What Spotify Is Really Costing Us [593d]
• He’s Making a List, and Checking It Twice [593d]
• Letters from Our Readers [593d]
• Diana Ejaita’s “Midnight Moments” [593d]
• To the Detective Investigating My Murder [593d]
• “Prelude in Grey Major,” by Christian Wiman [593d]
• The Lonely Skepticism of a Bull-Market Skeptic [593d]
• Does Morality Do Us Any Good? [593d]
• Kyle Abraham’s Extraordinary Dance Memoir [593d]
• Searching for (Real?) New Jersey Drones at a Fake Alien-Landing Site [593d]
• The Hollywood Slog That Led Adam Scott to “Severance” [593d]
• The Professional Health-Insurance-C.E.O. Nagger [593d]
• Christmas Recalled, by the Feds [593d]
• Andy Cohen Gets His Face (and the Rest of Him) in Wax [593d]
• Alice Munro’s Passive Voice [593d]
• Briefly Noted Book Reviews [593d]