| |  A Reporter at Large Crooks’ Mistaken Bet on Encrypted PhonesDrug syndicates and other criminal groups bought into the idea that a new kind of phone network couldn’t be infiltrated by cops. They were wrong—big time. By Ed Caesar | | | | | This Week’s Cover | Cover Story “Drawing Hands with A.I. (After M. C. Escher)”The artist of this week’s cover, JooHee Yoon, discusses artistry, artificial intelligence, and the human experience. By Françoise Mouly | | | | | | Shop covers from The New Yorker in the Condé Nast Store » | | | | Reporting and Commentary |  Annals of Gastronomy Taco Bell’s Innovation Kitchen, the Front Line in the Stunt-Food Wars How did the chain outdo Burger King’s Bacon Sundae, Pizza Hut’s hot-dog-stuffed crust, Cinnabon’s Pizzabon, and KFC’s fried-chicken-flavored nail polish? By Antonia Hitchens |  Onward and Upward with Technology How Much Can Duolingo Teach Us? The company’s founder, Luis von Ahn, believes that artificial intelligence is going to make computers better teachers than humans. By Carina Chocano | |  Brave New World Dept. The Future of Fertility A new crop of biotech startups want to revolutionize human reproduction. By Emily Witt |  Comment Federal Courts Battle Over the Abortion Pill Millions of women find that their access to health care hinges on two conflicting rulings, and is seemingly headed, once more, to the Supreme Court. By Sue Halpern | | | | | The Critics |  Books What Happens When You Kill Your King After the English Revolution—and an island’s experiment with republicanism—a genuine restoration was never in the cards. By Adam Gopnik |  Books The Origins of Creativity The concept was devised in postwar America, in response to the cultural and commercial demands of the era. Now we’re stuck with it. By Louis Menand | |  The Current Cinema “Beau Is Afraid” ’s Wearisome Excess Ari Aster’s Oedipal horror, starring Joaquin Phoenix, is filled with nervous wreckage, and leaves the unsettling sense of having stumbled upon an extended therapy session rather than a film. By Anthony Lane |  The Theatre Soap Operas as Guiding Light Experimental theatre and soap tropes commune in Julia Izumi’s “Regretfully, So the Birds Are” and Michael R. Jackson’s “White Girl in Danger.” By Helen Shaw | | | | | Fiction from the Issue | Fiction “The Stuntman”“The paintings made her unhappy, or, rather, they led her to acknowledge the existence of an unhappiness that seemed always to have been inside her.” By Rachel Cusk | | | | | Humor and Games from The New Yorker |  Shouts & Murmurs Brokeback Mountain in Manhattan He met the cowboy of his dreams (no, not a stripper). A man who wore denim-on-denim and ate vittles. Why was it so hard to quit him? By Paul Rudnick |  Cartoons from the Issue Cartoons from the Issue Funny drawings from this week’s magazine. | |  Crossword A Challenging Puzzle “Little Fires Everywhere” novelist: nine letters. By Natan Last |  Name Drop Play Today’s Quiz Can you guess the notable person in six clues or fewer? By Will Nediger | | | | | Newsletters Sign Up for The New Yorker’s Books & Fiction NewsletterBook recommendations, fiction, poetry, and dispatches from the world of literature, twice a week. | | | | | More from The New Yorker |  The Theatre A More Congenial Spot In a new production of “Camelot,” reimagined by Aaron Sorkin and directed by Bartlett Sher, Arthur is more perfect than ever. But this iteration of the hero’s kingdom isn’t worthy of him. By Helen Shaw |  The New Yorker Interview Leslie Marmon Silko Saw It Coming The author of “Ceremony” and “Almanac of the Dead” is thinking about different ways to write her next book. By Ismail Ibrahim | | | | | | | | |
No comments:
Post a Comment