Redact, expunge, and repeat.

A new book traces the intellectual origins of Trumpism—straight into the void.

When I was diagnosed with leukemia, my first thought was that this couldn’t be happening to me, to my family.

Our columnist on digital culture suggests technology—or anti-technology technology—to give this holiday season.

How the restaurateur Gabrielle Hamilton—of the beloved New York City establishment Prune—became a noted memoirist.

“Coyote,” a new biography by Robert M. Dowling, recounts how the cowboy laureate of American theatre invented himself.

Our editors and critics review notable new fiction, nonfiction, and poetry.

Revisiting a comic strip byThe New Yorker’s first art editor.

In the second of two movies adapted from the Broadway musical, Ariana Grande and Cynthia Erivo battle fascism, bigotry, and some fairly dreadful filmmaking.

A new biography traces the self-transformative creation of the most movie-made actress of classic Hollywood.

Richard Linklater’s dramatization of Jean-Luc Godard’s making of “Breathless” embraces the legend of the French New Wave and its enduring influence.

Ira Sachs’s film, starring Ben Whishaw as the renowned photographer and Rebecca Hall as his interviewer, is a personal memorial for the protagonist and his milieu.

The menu is malleable, the gratitudes negotiable, but the turkey’s second life as stock is one of the greatest gifts of the entire blessed year.

The viral Japanese bakery, now with a location in Times Square, is one of the few imported brands that has broken through to become genuinely hot while maintaining considerable good will.

Our food critic’s annual roundup of gastronomic ideas for giving.

The Argentinean chef Francis Mallmann is notorious for his love of cooking over open flames. With his New York début, he fizzles out.

Taylor Sheridan’s oil-industry drama trades in gender stereotypes, reactionary politics, and blatant product placement. Why, then, is it so damn satisfying?

The new Netflix miniseries makes the 1881 killing of President James Garfield feel thrillingly current.

Style and substance.

The technology is now popping up onscreen in everything from “The Morning Show” to “St. Denis Medical”—but nothing on air this year could compete with reality.

Tom Hanks plays a time-travelling tech titan, and Mark Strong and Lesley Manville star in a modern tragedy.

The Broadway veteran stars as a Marie Antoinette wannabe in a musical about excess, and Anne Washburn goes post-apocalyptic with “The Burning Cauldron of Fiery Fire.”

The playwright Samuel D. Hunter tailors a family drama to the actress’s specific gifts; at Powerhouse: International, the artist Carolina Bianchi explores violence against women.

Heather Christian and Jordan E. Cooper create two very different versions of spiritual inquiry.

Aspiring musicians are churning out tracks using generative artificial intelligence. Some are topping the charts.

In the musician’s most revealing account, she discusses her retreat from public life, the early loss of her husband, and the challenge of learning and writing about her biological father.

On “Lux,” her intense and expansive new album, the artist transgresses the limits of pop music.

Both composers remain intriguing outliers, notable for the stubbornness with which they have held to their youthful convictions.