The last few days man. I love this website.

I had a fantastic chat with Lee Sung Jin about the second season of BEEF, its eclectic origins, and its unexpected images. He also talked at length about his personal journey in the TV industry. www.newyorker.com/culture/the-...

👏👏👏

According to the “Beef” creator Lee Sung Jin, “In 2026, you really can’t talk about anything—life, marriage, love, career—without the theme of class being the variable.” www.newyorker.com/culture/the-...

I had a fantastic chat with Lee Sung Jin about the second season of BEEF, its eclectic origins, and its unexpected images. He also talked at length about his personal journey in the TV industry. www.newyorker.com/culture/the-...

The creator of “Beef,” Lee Sung Jin, discusses tailoring dialogue to Oscar Isaac and Charles Melton, the differences between Korean and American élites, and making TV in an age of “all-gas, no-brakes capitalism” in an interview with Inkoo Kang. www.newyorker.com/culture/the-...

I don't recall any previous transformative technologies that had to be sold to the public so hard. No one in 1999 was going, "Guys. Cell phone? It's coming, whether we like it or not. I think it's important, FOR WOMEN ESPECIALLY, to learn about cell phone. So that we're not left behind!!"

A modest tax on second homes is the scariest thing this rich lady has ever seen.

New episode! On @inbedwiththeright.bsky.social, @adriandaub.bsky.social and I talk “looksmaxxing,” the movement’s parallels in incel, pro-ana, and wellness communities, and the looksmaxxer sexual politics of heterosexuality without women. We’re podcastmaxxing. pod.link/1696774612/e...

The first season of “Jury Duty” had a carefully curated feel-good vibe that seemed to exceed even the novel premise as the primary source of its appeal. But that very quality renders the follow-up unnecessary, @inkookang.bsky.social writes. newyorkermag.visitlink.me/RFubxr

Might be the greatest opening paragraph of anything ever.

Loved the fact that various Oscar bits and clips "spoiled" the endings of ONE BATTLE AFTER ANOTHER and WEAPONS and other films last night. It was almost like the show had finally stopped worrying about appealing to people who don't bother to watch the movies. www.vulture.com/article/the-...

The HBO drama “Industry” recognizes the way its characters are thwarted by Britain’s class system, but “it’s more interested in how their grievances fuel preëxisting personality defects, curdling ambition into insatiability,” @inkookang.bsky.social writes. newyorkermag.visitlink.me/xirM9G

The HBO drama “Industry” recognizes the way its characters are thwarted by Britain’s class system, but “it’s more interested in how their grievances fuel preëxisting personality defects, curdling ambition into insatiability,” @inkookang.bsky.social writes. newyorkermag.visitlink.me/xirM9G

The genius of Sally Wainwright’s irresistible new series “Riot Women” lies in connecting individual woes to societal failures. The show “dramatizes how women pick up the pieces as institutions crumble around them,” @inkookang.bsky.social writes. newyorkermag.visitlink.me/a1tBYY

Whatever you think of the Washington Post at this moment, here's a chance to support the dedicated, hard-working journalists who were just laid off. If you have the means, your donation is most welcome. If you don't, a kind thought and maybe spreading the word to others is support enough 💙

What an absolutely brutal fucking day.

With “The Beauty,” a new FX series starring Ashton Kutcher, Ryan Murphy attempts to comment on incels, celebrity culture, and the age of Ozempic. www.newyorker.com/culture/on-t...

Our TV critic picks the 10 best shows of the year. newyorkermag.visitlink.me/Y61B_-

Sterlin Harjo’s new series, “The Lowdown,” starring Ethan Hawke as a citizen journalist determined to expose the crimes of the élite, is at once rollicking and timely, @inkookang.bsky.social writes. Read her review.

The Trump Administration’s attack on late-night TV is part of a much broader agenda, @inkookang.bsky.social writes.

Many in Hollywood have concluded that they have to win back audiences by producing more content that represents red-state values. “There’s an experimental energy in the crop of shows catering to this newly prized demographic,” @inkookang.bsky.social‬ writes.

Is “And Just Like That” bad enough to retroactively diminish its predecessor? “I’d argue yes,” @inkookang.bsky.social writes.

With its quicksilver shifts and sneaking sweetness, the experience of watching “Too Much” feels a lot like falling in love, @inkookang.bsky.social‬ writes.

With its quicksilver shifts and sneaking sweetness, the experience of watching “Too Much” feels a lot like falling in love, @inkookang.bsky.social writes.

more than 8,000 journalists have been laid off since 2022. That's 9% of the industry.

uhhhh what huh???? it's been about 24 hours since our campaign's public launch and we're already more than halfway to our goal! thank you!! y'all must really love COOL INDEPENDENT MEDIA FOR BAY AREA HOTTIES givebutter.com/coyotemedia

What is common knowledge in your field, but shocks outsiders? Food systems are the #2 contributor to climate change, the #1 driver of deforestation, the #1 driver of biodiversity loss on land, and the #1 user of freshwater. (It follows that food systems contain many solutions to these problems.)

Recent shows about the ethically challenged rich have emphasized their characters’ personality disorders along with the trappings of the high life. ” ‘Your Friends and Neighbors’ flips the formula, to unsatisfying effect,” @inkookang.bsky.social writes.

Recent shows about the ethically challenged rich have emphasized their characters’ personality disorders along with the trappings of the high life. ” ‘Your Friends and Neighbors’ flips the formula, to unsatisfying effect,” @inkookang.bsky.social writes.

A sitting cabinet member being unable to define the bedrock principle of Anglo-American law for nearly a millennium will get .00001% of the coverage devoted to Hillary Clinton’s email server or Joe Biden’s mental capacity

that one scene in SINNERS is one of the most breathtaking feats of cinema i've seen in years. coogler is cooking.

Sharp @inkookang.bsky.social column about Hacks and The Studio: www.newyorker.com/culture/on-t...

The Pulitzer I’m most excited about was for audio reporting, “In the Dark,” which didn’t get nearly the attention it should have. www.newyorker.com/podcast/in-t...

Hollywood has long loved to tell stories about itself—but, in 2025, the self-satirizing has an air of crisis management. @inkookang.bsky.social writes about the new season of “Hacks” and Seth Rogen’s new series, “The Studio.”

This is two global elections in ONE WEEK where the conservative candidate trying to become prime minister not only led his party to a big loss but lost their own seat in parliament (!) in huge upsets. We are global pariahs unseen since the end of the Cold War and need stronger domestic opposition.

Gotta love these AI simps constantly misrepresenting why people hate this technology It’s not just because it currently sucks It’s because it’s very existence is based on a crime

I finally subscribed to WIRED a few months back and...I love it? Its tech lens on culture and politics means it's writing some of today's best journalism. You can see that scope just in today's most popular pieces.

There are not many jobs like this in journalism, so when somebody quits one for this reason, it is worth listening to.

Though Season 2 of HBO’s “The Last of Us” gives its characters’ individual dynamics more room to breathe, it ends up feeling smaller than its predecessor over all, @inkookang.bsky.social writes. Read her review.

The new miniseries “Dying for Sex” has a morbid, somewhat off-putting hook: a woman with terminal cancer looks to get laid while she still can. But the show is “also something of a Trojan horse,” @inkookang.bsky.social writes.

“The Pitt” is built on nostalgia and predictability. “It’s structured such that you know you’ll have your heart broken and mended several times per episode—it’s just a matter of how,” @inkookang.bsky.social writes.

“The Pitt,” an “E.R.” meets “24” medical drama, harkens back to a different era of television. It’s “a counterintuitive comfort watch,” @inkookang.bsky.social writes.

The second season of “Wolf Hall,” a PBS/BBC adaptation of the novelist Hilary Mantel’s trilogy of the same name, arrives a decade after the first season but it is “arguably greater than its acclaimed predecessor,” @inkookang.bsky.social writes.

The current season of HBO’s “The White Lotus” isn’t as fizzy or as incisive as the two before, @inkookang.bsky.social writes. In our Goings On newsletter, she recommends three other shows to check out instead.

Thread featuring the goodies from MaxFunDrive for supporting shows like, oh, @maximumfilmpodcast.bsky.social #filmsky 📽

What makes “The Pitt” bingeable, even beguiling, is “its portrayal of E.R. doctors as not only dedicated medical professionals but also unofficial social workers,” @inkookang.bsky.social writes.

The new Netflix drama “Adolescence” is an expression of parental panic, an effort to grapple with the crisis of boys and masculinity today. Unfortunately, the show’s “flashy, fragmentary approach undermines its attempts to illuminate,” @inkookang.bsky.social writes.

In the third season of “The White Lotus,” a now familiar formula yields diminishing returns, @inkookang.bsky.social writes.

[if Chuck Schumer replaced Liam Neeson in Taken] CHUCK SCHUMER: [on phone] I don’t know who you are or what you want, but I will find you and I will help you kill my daughter