Critics at Large | The New Yorker

Since the comedian Julio Torres came to America from El Salvador, more than a decade ago, his fantastical style has made him a singular presence in the entertainment landscape. An early stint writing for “Saturday Night Live” yielded some of the show’s weirdest and most memorable sketches; soon after that, Torres’s work on the HBO series “Los Espookys,” which he co-wrote and starred in, cemented his status as a beloved odd-child of the comedy scene. In his most recent work, he’s applied his dreamy sensibility to very real bureaucratic nightmares. “Problemista,” his first feature film, draws on Torres’s own Kafkaesque experience navigating the U.S. immigration system; in his new HBO show, “Fantasmas,” the protagonist considers whether to acquire a document called a “proof of existence,” without which everyday tasks like renting an apartment are rendered impossible. In a live taping at The New Yorker Festival, the hosts of Critics at Large talk with Torres about his creative influences, and about using abstraction to put our most impenetrable systems into tangible terms. “Life today is so riddled with these man-made labyrinths that are life-or-death … there’s something very lonely about it,” Torres says. “These flourishes are there in service of the humanity.”Read, watch, and listen with the critics:“Problemista” (2023)“Fantasmas” (2024-)“Los Espookys” (2019-22)“I Want to Be a Vase,” by Julio Torres“My Favorite Shapes” (2019)“Saturday Night Live” (1975-)“Julio Torres’s ‘Fantasmas’ Finds Truth in Fantasy,” by Vinson Cunningham (The New Yorker)“The Hunchback of Notre Dame” (1996)“Charlie’s Angels: Full Throttle” (2003)“The Substance” (2024)New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. 

The art of advice-giving, championed over the years by such figures as Ann Landers and Cheryl Strayed, has lately undergone a transformation. As traditional columns have continued to proliferate, social-media platforms have created new venues for those seeking—and doling out—counsel, from the users of the popular subreddit “Am I the Asshole” to the countless “experts” who peddle their takes on Instagram and TikTok. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz try their hands at the trade, advising listeners on a variety of cultural conundrums. The hosts trace the form from early examples such as Advice for Living, the short-lived column written by Martin Luther King, Jr., in the late nineteen-fifties, through to the Internet age. The genre has long functioned as a forum for parsing the ethics of the era, and its enduring appeal might be explained by our inherent curiosity about the way others live. “There is a sort of plurality of approaches to life itself, which means that we are all passing into and out of other people’s moral universes,” Cunningham says. “I think it causes more trouble—causes more questions.”Read, watch, and listen with the critics:“The Witch Elm,” by Tana French“Crime and Punishment,” by Fyodor Dostoyevsky“Pride and Prejudice,” by Jane Austen“Intermezzo,” by Sally Rooney“The Guest,” by Emma Cline“I’m a Fan,” by Sheena Patel“My Husband,” by Maud Ventura“The Anthropologists,” by Ayşegül Savaş“Small Rain,” by Garth Greenwell“Brightness Falls,” by Jay McInerneyRichard Linklater’s “Before” trilogyWilliam Shakespeare’s “Hamlet”“Ghost World,” by Dan ClowesThe Ethicist (The New York Times)Dear Sugar (The Rumpus)“The Strange Case of Dr. Jekyll and Mr. Hyde,” by Robert Louis Stevenson“Lisa Frankenstein” (2024)“The Turn of the Screw,” by Henry James“Carrie,” by Stephen King“Little Labors,” by Rivka Galchen“Matrescence,” by Lucy Jones“The Mother Artist,” by Catherine Ricketts“Acts of Creation,” by Hettie Judahr/AmItheAssholeAdvice for Living (Ebony Magazine)New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. 

“The Apprentice,” a new film directed by Ali Abbasi, depicts the rise of a young Donald Trump under the wing of the notorious lawyer Roy Cohn. The film is, in many ways, an origin story for a man who has overtaken contemporary politics. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss the movie and other works that explore Trump’s and Cohn’s psychologies, from duelling family memoirs to documentaries. The sheer number of such texts raises the question: Why are we so interested in the backstories of people who have done wrong, and what do we stand to gain (or lose) by humanizing them? “Do we want to see our villains, our absolute villains—people who have caused much harm to the world—as weak little boys who’ve undergone trauma and have had their reasons for becoming the monsters they later turn into?” Fry asks. “Or do we not?”Read, watch, and listen with the critics:“The Apprentice” (2024)“Who Could Ever Love You: A Family Memoir,” by Mary Trump“All in the Family: The Trumps and How We Got This Way,” by Fred C. Trump III“Where’s My Roy Cohn?” (2019)“Roy Cohn and the Making of a Winner-Take-All America,” by Naomi Fry (The New Yorker)“Angels in America” (2003)“Joker” (2019)“Wicked” (2024)“Ratched” (2020)“Elephant” (2003)“Cruella” (2021)“The Sopranos” (1991-2007)“Mad Men” (2007-15)The “Harry Potter” novels, by J. K. Rowling“Paradise Lost,” by John Milton“Be Ready When the Luck Happens,” by Ina GartenNew episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.

In “The Substance,” a darkly satirical horror movie directed by Coralie Fargeat, Demi Moore plays an aging Hollywood actress who strikes a tech-infused Faustian bargain to unleash a younger, “more perfect” version of herself. Gruesome side effects ensue. Fargeat’s film plays on the fact that female aging is often seen as its own brand of horror—and that we’ve devised increasingly extreme methods of combating it. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss “The Substance” and “A Different Man,” another new release that questions our culture’s obsession with perfecting our physical forms. In recent years, the smorgasbord of products and procedures promising to enhance our bodies and preserve our youth has only grown; social media has us looking at ourselves more than ever before. No wonder, then, that horror as a genre has been increasingly preoccupied with our uneasy relationship to our own exteriors. “We are embodied. It is a struggle. It is beautiful. It’s something to wrestle with forever. Just as you think that you’ve caught up to your current embodiment, something changes,” Schwartz says. “And so how do we make our peace with it?”Read, watch, and listen with the critics:“A Clockwork Orange” (1971)“The Substance” (2024)“A Different Man” (2024)“Psycho” (1960)“The Ren & Stimpy Show” (1991-96)“The Bluest Eye,” by Toni Morrison“Passing,” by Nella Larsen“The Power of Positive Thinking,” by Norman Vincent Peale“Titane” (2021)“The Age of Instagram Face,” by Jia Tolentino (The New Yorker)New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.