Emily Nussbaum, The New Yorker

Emily Nussbaum

The New Yorker

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Past articles by Emily:

Emily Nussbaum

Emily Nussbaum won the Pulitzer Prize for criticism in 2016. Previously, she worked at New York for seven years, editing the Culture Pages (and creating the Approval Matrix) and writing both features and criticism. Her anthology, “I Like to Watch: Arguing My Way Through the TV Revolution,” was released in June, 2019. → Read More

Uncertain Attraction in “Work in Progress” and “Dare Me”

An indie comedy about a misfit looking for love, and a clear-eyed examination of a small town full of dangerously bored kids take new spins on established genres. → Read More

Emily Nussbaum Picks the Best TV Shows of 2019

Here are more than ten shows that I happened to like and remember on the day that I wrote this list. → Read More

The Incendiary Aims of HBO’s “Watchmen”

Damon Lindelof’s update to Alan Moore’s graphic novel is a bombshell, reordering the fictional universe and writing buried racial trauma back into comic-book mythology. → Read More

The Search for Pizzazz at the Impeachment Reality Show

Emily Nussbaum on the spectacle of the televised House impeachment hearings and how narrative and storytelling could impact them. → Read More

Mixed Débuts on Apple TV+ in “The Morning Show” and “Dickinson”

Jennifer Aniston and Steve Carell’s depiction of a #MeToo crisis is a pricey, glum misfire, while Emily Dickinson’s makeover is a sweet and original surprise. → Read More

“Evil,” “9-1-1,” and the Appeal of the Network Procedural

Emily Nussbaum reviews Michelle and Robert King’s “Evil” and Ryan Murphy’s “9-1-1,” which prove, in the era of cable and streaming, that there’s still life in old-school formats. → Read More

In Ukraine, a TV President to Rival Trump

Emily Nussbaum on Volodymyr Zelensky’s performance in “Servant of the People,” a genre-bending series that blends Ryan Murphy wackiness with Sorkinian uplift (minus the hubris). → Read More

“Our Boys” and the Economics of Empathy

Emily Nussbaum reviews the galvanic new series, set in Israel, which emphasizes how easily dehumanizing rhetoric can sway vulnerable minds, and which should feel uncomfortably relevant to American viewers. → Read More

The Niche Celebrity Satire of “BH90210”

Emily Nussbaum reviews a sweet meta-reboot of the hit nineties teen soap opera, which is just smart enough to feel clever and just silly enough to feel relaxing. → Read More

“Sherman’s Showcase” Celebrates a Lost TV Genre

Emily Nussbaum reviews “Sherman’s Showcase,” a loving homage to a fake “Soul Train”-like show and its iconic host. → Read More

“Years and Years” Forces Us Into the Future

Emily Nussbaum reviews the dystopian-realist series “Years and Years,” which is meant to serve as an alert to what’s going on in front of our eyes and where it might lead. → Read More

Off-Kilter Humor on “Los Espookys” and “Alternatino”

Emily Nussbaum reviews the silly and satisfying new series “Los Espookys” and “Alternatino,” which can be loose and healthily illogical, with plenty of big laughs. → Read More

How “When They See Us” and “Chernobyl” Make Us Look

These new true-story series manage to make depressing, traumatic material not merely watchable but mesmerizing. → Read More

TV’s Reckoning with #MeToo

Emily Nussbaum on the creators who are visibly struggling to adjust to the changing landscape, rejecting the “very special episode” path and seeking something more honest. → Read More

What Survives After the “Game of Thrones” Finale

Emily Nussbaum writes about the finale of “Game of Thrones,” which offered closure for characters like Jon Snow (Kit Harington), Daenerys Targaryen (Emilia Clarke), and others. → Read More

CBS Censors “The Good Fight” for a Musical Short About China

Emily Nussbaum writes on CBS self-censoring a segment of “The Good Fight” that was critical of Chinese censorship, and how China has become too big of a market for media corporations to ignore. → Read More

Chick Magnets on “Gentleman Jack” and “Killing Eve”

Emily Nussbaum reviews the TV series “Gentleman Jack” and “Killing Eve,” which examine the masks that women wear in public. → Read More

Losing Her Mind: “Crazy Ex-Girlfriend” Ends with Hope

Emily Nussbaum writes on the finale of the TV series “Crazy Ex-Girlfriend,” starring Rachel Bloom and created by Bloom and Aline Brosh McKenna. → Read More

What Does It Take to Be a Female Genius?

“Fosse/Verdon” and “Documentary Now!” parse the gender politics of artistic mastery and the difference between doormat and muse, Emily Nussbaum writes. → Read More