The Knicks Take Game 4 with the Greatest Comeback in N.B.A. Finals History: A Post-Game Conversation
The Knicks Take Game 4 with the Greatest Comeback in N.B.A. Finals History: A Post-Game Conversation
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The Knicks Take Game 4 with the Greatest Comeback in N.B.A. Finals History: A Post-Game Conversation
David Remnick on Willis Reed’s glorious victory in 1970 and the wonder of watching the team on the brink of another N.B.A. championship more than half a century later, led by Jalen Brunson.
New Yorker writers name favorites short enough to finish in a single sitting, including “The Girls of Slender Means,” “The Captain’s Daughter,” “Wigs on the Green,” and “Ballerina.”
Justin Chang reviews Steven Spielberg’s new alien thriller, which has shades of “Close Encounters of the Third Kind,” “Minority Report,” and even “The Post.”
Millie von Platen illustrates the rituals of New York Knicks fans as the team faces off against the San Antonio Spurs in the 2026 N.B.A. Finals.
Katy Waldman writes on a prize-winning story by Jamir Nazir, published in Granta, suspected of being A.I.-generated, and what the public’s response indicates about contemporary literary culture.
Kyle Chayka writes about the relaunch of “Keep the Meter Running,” on YouTube, and how Kareem Rahma is trying to turn TikTok-clip fodder into full-blown TV.
The Swiss will soon go to the polls for a novel initiative that could upend the nation’s economy and rupture ties with the European Union, Jessi Jezewska Stevens writes.
Richard Brody reviews “The Little Sister,” directed by Hafsia Herzi and starring Nadia Melliti in her début role.
From guys trying to make it past women’s six-foot filter on dating apps to Spurs players, it seems no man is immune from height scrutiny. Brady Brickner-Wood on tall privilege.
The progressive city-council member will face the incumbent Karen Bass. In the gubernatorial race, Xavier Becerra, a former federal health official and state attorney general, will be one of two candidates i...
The billionaire spent more than two decades creating a successful space company. Now he’s pitching it as an A.I. play, John Cassidy writes.
Ruth Marcus reports on the Supreme Court’s unsigned order legitimatizing an Alabama congressional-district map that a lower court had claimed “amounted to intentional racial discrimination.”
Heidi Blake reports on how the defining figure of the manosphere built a fortune—and became a political force—by systematically exploiting women.
What Graham Platner’s scandal-plagued Senate run says about a tired cliché. Jon Allsop on Platner, Zohran Mamdani, Donald Trump, and the matter of politicians being themselves.
Fiction, excerpted from “The Anniversary,” by Andrea Bajani, and translated, from the Italian, by Geoffrey Brock: There was something absurd and distressing in that prelude to the domestic drama.
Nina Mesfin interviews the writer Andrea Bajani about “Constellation,” his story from the June 15, 2026, issue of The New Yorker.
The Trump Administration has chosen to honor the Semiquincentennial by keeping people from entering the United States, by restricting those who have already done so from becoming full citizens, and by trying...
Lauren Michele Jackson talks with the actor and comedian about collaborating with Wallace Shawn, embracing the emotion of performance, and his directorial début, “Maddie’s Secret,” in which he plays a...
Rachel Syme reviews “Follow the Signs: Searching for Linda Goodman, America’s Forgotten Astrology Queen,” by Courtney Ann LaFaive, a book about the author of “Linda Goodman’s Sun Signs.”
Mikal Bridges and a cast of versatile role players have helped carry New York to a 2–0 lead in the N.B.A. Finals, Louisa Thomas writes.
Helen Rosner writes about the Korean steak house Cote 550, in midtown, from the restaurateur Simon Kim and the beverage director Victoria James.
Also: the megawatt hip-hop of Baby Keem, the buzzy period reimaginings of Scottish Ballet, the time-capsule documentary “With Hasan in Gaza,” and more.
Over five stellar seasons, Jean Smart’s and Hannah Einbinder’s characters became unlikely artistic soul mates, whose brilliance grew out of their creative friction, Michael Schulman writes.