Katy Waldman
@xwaldie.bsky.social
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Is something going on with lettuce in NY being rotten?
9 days ago
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Katy Waldman
The New Yorker
15 days ago
“According to the spokespeople of grind culture, the choice is clear: your individuality can make money for you or it can make money for somebody else,” Katy Waldman writes.
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How Corporate Feminism Went from “Love Me” to “Buy Me”
A decade ago, Sheryl Sandberg’s “Lean In” aimed to tear down the obstacles that kept women from reaching the top. Now her successors want to tear down everything.
https://www.newyorker.com/magazine/2025/10/27/how-corporate-feminism-went-from-love-me-to-buy-me?utm_medium=social&utm_social-type=owned&utm_source=bluesky&mbid=social_bluesky&utm_brand=tny
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Katy Waldman
The New Yorker
19 days ago
Today’s self-help books for working women abandon the pretense that they have anything to do with feminism, or even work. Instead, everything is content.
https://www.newyorker.com/magazine/2025/10/27/how-corporate-feminism-went-from-love-me-to-buy-me
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Wrote about the state of corporate feminist self-help!
www.newyorker.com/magazine/202...
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How Corporate Feminism Went from “Love Me” to “Buy Me”
A decade ago, Sheryl Sandberg’s “Lean In” aimed to tear down the obstacles that kept women from reaching the top. Now her successors want to tear down everything.
https://www.newyorker.com/magazine/2025/10/27/how-corporate-feminism-went-from-love-me-to-buy-me
21 days ago
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You know what
bsky.app/profile/blip...
add a skeleton here at some point
about 1 month ago
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For the fall books issue of
@newyorker.com
, I reviewed Ian McEwan's excellent new novel, which features city-drowning floods, "the famous group Radiohead," and a metric ton of adultery.
www.newyorker.com/magazine/202...
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Ian McEwan Casts the Climate Crisis as a Story of Adultery
His new novel, “What We Can Know,” imagines the historians of the twenty-second century, who long for the world that they’ve missed out on.
https://www.newyorker.com/magazine/2025/09/29/what-we-can-know-ian-mcewan-book-review
about 2 months ago
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Katy Waldman
The New Yorker
about 2 months ago
“What We Can Know,” Ian McEwan’s 18th novel, takes place in the 22nd century, after a nuclear disaster. “Much of the novel’s charm lies in its re-creation of our era as seen from the future,” Katy Waldman writes.
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Ian McEwan Casts the Climate Crisis as a Story of Adultery
His new novel, “What We Can Know,” imagines the historians of the twenty-second century, who long for the world that they’ve missed out on.
https://www.newyorker.com/magazine/2025/09/29/what-we-can-know-ian-mcewan-book-review?utm_medium=social&utm_social-type=owned&utm_source=bluesky&mbid=social_bluesky&utm_brand=tny
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Katy Waldman
Matt Shipman (he/him)
about 2 months ago
Seeing ice cream cones during their spawning runs really takes your breath away. They’ll only do this once in their entire lives.
add a skeleton here at some point
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Monday version of me here to re-up this post for all of your Monday selves!
add a skeleton here at some point
2 months ago
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I reviewed Helen Oyeyemi’s new new novel, in which a character divides herself by seven — one identity for each day of the week (Should we all try this?)
www.newyorker.com/magazine/202...
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Helen Oyeyemi’s Novel of Cognitive Dissonance
Kinga, the protagonist of “A New New Me,” has an odd affliction: there are seven of her.
https://www.newyorker.com/magazine/2025/08/25/a-new-new-me-helen-oyeyemi-book-review
3 months ago
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While I’m self-promoting, this piece is in dialogue with an earlier piece about MAGA aesthetics and how Trump is a LLM regurgitating signifiers without understanding them
www.newyorker.com/culture/crit...
bsky.app/profile/xwal...
add a skeleton here at some point
3 months ago
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Katy Waldman
The New Yorker
3 months ago
With media such as “28 Years Later” and “The Last of Us,” 2025 has been a bacchanalia of zombies. Katy Waldman writes about our cultural fixation on the walking dead.
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Our Age of Zombie Culture
Zombies are the least eloquent monster. But they have a lot to say about us.
https://www.newyorker.com/culture/critics-notebook/our-age-of-zombie-culture?utm_medium=social&utm_social-type=owned&utm_source=bluesky&mbid=social_bluesky&utm_brand=tny
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Zombies are reactionary babies, tell your friends
www.newyorker.com/culture/crit...
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Our Age of Zombie Culture
Zombies are the least eloquent monster. But they have a lot to say about us.
https://www.newyorker.com/culture/critics-notebook/our-age-of-zombie-culture
3 months ago
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Really enjoyed spending time with the film Sorry Baby and with its singular creator and star Eva Victor
www.newyorker.com/culture/pers...
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How Eva Victor Reimagined the Trauma Plot
In her new film, the actor, writer, and director charts the nonlinear course of a young woman’s recovery from assault.
https://www.newyorker.com/culture/persons-of-interest/how-eva-victor-reimagined-the-trauma-plot
4 months ago
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I snuck a few of my "Anora" gripes into a piece about "Materialists" and the rise of the anti-Cinderella story
www.newyorker.com/culture/crit...
5 months ago
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Katy Waldman
The New Yorker
5 months ago
Does Prince Charming still exist? A spate of media scrutinizing the one-percent—including “Materialists” and “Anora”—attests to the difficulty of romanticizing wealth and love.
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The Rise of the Anti-Cinderella Story
A pair of recent films, Celine Song’s “Materialists” and Sean Baker’s “Anora,” turn the fairy tale on its head, with mixed results.
https://www.newyorker.com/culture/critics-notebook/the-rise-of-the-anti-cinderella-story?utm_medium=social&utm_social-type=owned&utm_source=bluesky&mbid=social_bluesky&utm_brand=tny
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Subbing in for the inimitable Naomi Fry on this week’s critics column, I wrote about Hollywood’s new anti-Cinderella plot
www.newyorker.com/culture/crit...
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The Rise of the Anti-Cinderella Story
A pair of recent films, Celine Song’s “Materialists” and Sean Baker’s “Anora,” turn the fairy tale on its head, with mixed results.
https://www.newyorker.com/culture/critics-notebook/the-rise-of-the-anti-cinderella-story
5 months ago
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Katy Waldman
The New Yorker
5 months ago
“I have wrestled with a Frey-like dread through the writing of this review—I’m afraid that I’ll describe his book and no one will believe me.” Read
@xwaldie.bsky.social
’s review of the cancelled author’s attempt to rebrand.
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James Frey’s New Cancelled-Guy Sex Novel Is as Bad as It Sounds
With a status-obsessed comeback book, the author of the fabricated memoir “A Million Little Pieces” attempts to rebrand.
https://www.newyorker.com/books/page-turner/james-freys-new-cancelled-guy-sex-novel-is-as-bad-as-it-sounds?utm_medium=social&utm_social-type=owned&utm_source=bluesky&mbid=social_bluesky&utm_brand=tny
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Reviewed James Frey’s new book somehow
www.newyorker.com/books/page-t...
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James Frey’s New Cancelled-Guy Sex Novel Is as Bad as It Sounds
With a status-obsessed comeback book, the author of the fabricated memoir “A Million Little Pieces” attempts to rebrand.
https://www.newyorker.com/books/page-turner/james-freys-new-cancelled-guy-sex-novel-is-as-bad-as-it-sounds
5 months ago
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Love Marvel, hate Marvel, all I know is that they put the New Yorker in their closing credit sequence alongside a David Brooks joke that deserves its own Oscar
www.newyorker.com/culture/crit...
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Is “Thunderbolts*” Marvel’s Attempt to Salvage the Superhero Genre?
The film succeeds in part by flipping the franchise’s standard script: the main characters aren’t embarrassed because they’re superheroes; they’re embarrassed because they’re not.
https://www.newyorker.com/culture/critics-notebook/is-thunderbolts-marvels-attempt-to-salvage-the-superhero-genre
5 months ago
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Katy Waldman
The New Yorker
6 months ago
“Twist,” by Colum McCann, centers around the cables that relay computer data around the world, and what happens when a cable off the Ghanaian coast is severed. But the book doesn’t establish the human stakes of the repair, Katy Waldman writes.
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Colum McCann’s Limp Novel of Digital Life
In “Twist,” the characterization is listless and the internet is just a series of tubes.
https://www.newyorker.com/books/page-turner/colum-mccanns-limp-novel-of-digital-life?utm_medium=social&utm_social-type=owned&utm_source=bluesky&mbid=social_bluesky&utm_brand=tny
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Katy Waldman
Raw Story
6 months ago
In an interview with Slate's Mary Harris, the New Yorker's Katy Waldman stated that nothing is going well at John F. Kennedy Center for the Performing Arts since Donald Trump took over the venerable Washington D.C. institution.
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'Everything is worse' at Kennedy Center as the 'Trump anti-Midas touch' takes hold: expert
In an interview with Slate's Mary Harris, the New Yorker's Katy Waldman stated that nothing is going well at John F. Kennedy Center for the Performing Arts since Donald Trump took over the venerable Washington D.C. institution.Following up on earlier reports that crowd-pleasing –– and ticket-selling...
https://bit.ly/43aSesC
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reposted by
Katy Waldman
The New Yorker
6 months ago
Donald Trump loves posting A.I. images of himself. On a new episode of The Political Scene podcast, the staff writer
@xwaldie.bsky.social
talks about how she sees these often bizarre representations as the “statements of intent” of a budding authoritarian. Listen here.
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Decoding Donald Trump’s Love of A.I. Imagery
The President loves posting A.I. images of himself. The staff writer Katy Waldman sees these often bizarre representations as the “statements of intent” of a budding authoritarian.
https://www.newyorker.com/podcast/political-scene/decoding-donald-trumps-love-of-ai-imagery?utm_medium=social&utm_social-type=owned&utm_source=bluesky&mbid=social_bluesky&utm_brand=tny
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Katy Waldman
The New Yorker
7 months ago
Donald Trump and A.I.-generated imagery are well matched, Katie Waldman writes. “It makes sense that a man who yearns for a reality untroubled by other humans would be drawn to art that is untouched by anything human.”
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Trump Is the Emperor of A.I. Slop
It makes sense that a man who yearns for a reality untroubled by other humans would be drawn to art that is untouched by anything human.
https://www.newyorker.com/culture/critics-notebook/trump-is-the-emperor-of-ai-slop?utm_medium=social&utm_social-type=owned&utm_source=bluesky&mbid=social_bluesky&utm_brand=tny
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I subbed in on “Critics Notebook” this week and wrote about Trump’s AI aesthetic!
www.newyorker.com/culture/crit...
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Trump Is the Emperor of A.I. Slop
It makes sense that a man who yearns for a reality untroubled by other humans would be drawn to art that is untouched by anything human.
https://www.newyorker.com/culture/critics-notebook/trump-is-the-emperor-of-ai-slop
7 months ago
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Katy Waldman
Schooley
7 months ago
Things fall apart; the Kennedy center cannot hold.
www.newyorker.com/culture/the-...
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The Trump Show Comes to the Kennedy Center
Can the fifty-four-year-old arts hub weather the next four years?
https://www.newyorker.com/culture/the-lede/the-trump-show-comes-to-the-kennedy-center
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Katy Waldman
The New Yorker
10 months ago
A well-known romantasy author is being sued for copyright infringement. But the genre’s reliance on tropes makes proving plot theft tricky. Romantasy novels “express the longing to be unique, but they pour that desire into imitative forms,” Katy Waldman writes.
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Did a Best-Selling Romantasy Novelist Steal Another Writer’s Story?
Tracy Wolff, the author of the “Crave” series, is being sued for copyright infringement. But romantasy’s reliance on standardized tropes makes proving plot theft tricky.
https://www.newyorker.com/magazine/2025/01/13/did-a-best-selling-romantasy-novelist-steal-another-writers-story?utm_medium=social&utm_social-type=owned&utm_source=bluesky&mbid=social_bluesky&utm_brand=tny
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Katy Waldman
M. C. Mah
10 months ago
This is really good, and goes beyond the plagiarism angle. I shouldn’t give away what happens when authors working in an iterative genre featuring protagonists of revelatory specialness stare into the abyss of Kindle Direct Publishing.
www.newyorker.com/magazine/202...
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Did a Best-Selling Romantasy Novelist Steal Another Writer’s Story?
Tracy Wolff, the author of the “Crave” series, is being sued for copyright infringement. But romantasy’s reliance on standardized tropes makes proving plot theft tricky.
https://www.newyorker.com/magazine/2025/01/13/did-a-best-selling-romantasy-novelist-steal-another-writers-story
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Katy Waldman
Caroline Eisenmann
10 months ago
this excellent feature from
@xwaldie.bsky.social
, on a case that pushes at the boundaries of what constitutes plagiarism in a genre based profoundly on tropes, is a truly wild and fascinating ride
www.newyorker.com/magazine/202...
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Did a Best-Selling Romantasy Novelist Steal Another Writer’s Story?
Tracy Wolff, the author of the “Crave” series, is being sued for copyright infringement. But romantasy’s reliance on standardized tropes makes proving plot theft tricky.
https://www.newyorker.com/magazine/2025/01/13/did-a-best-selling-romantasy-novelist-steal-another-writers-story
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Hi! Some-time lurker, first time poster. For this week’s
@newyorker.com
, I dove into a romantasy plagiarism lawsuit that raises deeper questions about tropes, authorship, and the grubby imperatives of selling books in a post-literate world.
www.newyorker.com/magazine/202...
loading . . .
Did a Best-Selling Romantasy Novelist Steal Another Writer’s Story?
Tracy Wolff, the author of the “Crave” series, is being sued for copyright infringement. But romantasy’s reliance on standardized tropes makes proving plot theft tricky.
https://www.newyorker.com/magazine/2025/01/13/did-a-best-selling-romantasy-novelist-steal-another-writers-story
10 months ago
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