Gender
The Political Scene Podcast
Judith Butler on the Global Backlash to L.G.B.T.Q. Rights
The philosopher popularized new ideas about gender—and has been burned in effigy for it. They talk with David Remnick about their new book, “Who’s Afraid of Gender?”
The New Yorker Radio Hour
Judith Butler Can’t “Take Credit or Blame” for Gender Furor
The philosopher popularized new ideas about gender—and has been burned in effigy for it. They talk with David Remnick about “Who’s Afraid of Gender?” Plus, a little March Madness.
The Weekend Essay
Who Gets to Play in Women’s Leagues?
What a blood test taught me about testosterone, athleticism, and sex.
By S. C. Cornell
Critics at Large
Are Straight Couples O.K.?
From “Who’s Afraid of Virginia Woolf?” to “Kramer vs. Kramer,” stories about heterosexual marriages have served as a battleground for the social politics of the day. In the wake of #MeToo, two new films explore the emotional fallout when traditional gender roles are flipped.
The Weekend Essay
Why Barbie Must Be Punished
Mothers, daughters, and an icon’s existential crisis.
By Leslie Jamison
Second Read
The Invention of “the Male Gaze”
In 1973, the film theorist Laura Mulvey used concepts from psychoanalysis to forge a feminist polemic and a lasting shorthand for gender dynamics onscreen.
By Lauren Michele Jackson
This Week in Fiction
Rachel Cusk on the Self in Visual Art
The author discusses “The Stuntman,” her story from the latest issue of the magazine.
By Deborah Treisman
Books
What’s the Matter with Men?
They’re floundering at school and in the workplace. Some conservatives blame a crisis of masculinity, but the problems—and their solutions—are far more complex.
By Idrees Kahloon
The Theatre
Gender Critique Meets Lewd Spectacle in “The Patient Gloria”
Gina Moxley’s play examines the sexual and behavioral strictures on women through the lens of psychotherapy circa 1964.
By Vinson Cunningham
Daily Comment
Iran’s Protests Are the First Counter-Revolution Led by Women
Women are still defying and dying in an uprising that is historically unique for being centered on women’s freedom.
By Robin Wright
The New Yorker Documentary
A Mother’s Reflections on Her Child’s Joy and Gender
The unnamed woman in Sheona McDonald’s “Into Light” talks with care and candor about what happened after her young child said, “You know I’m really a girl.”
The New Yorker Documentary
Rethinking Identity and Testosterone in “Imagine a Body”
Instead of viewing transition as a linear medical process, Connor Lee O’Keefe’s documentary short focusses on emotion and evolution.
Our Columnists
The Politics of the Supreme Court Shortlist
President Biden has promised to nominate a Black woman at the same moment when the Court is likely to ban most race-conscious selections.
By Jeannie Suk Gersen
Postscript
Joan Didion and the Voice of America
She knew that her country was built on exclusion and shame.
By Hilton Als
The Front Row
“The Matrix Resurrections,” Reviewed: The Reboot Picks Up Where the Trilogy Left Off—Alas
In resuscitating the franchise, Lana Wachowski implants some good ideas and some good actors into the weakest of the series’s dramatic frameworks.
By Richard Brody
The New Yorker Documentary
A Texan Housepainter’s Journey to Gender Confidence
In Jessica Wolfson and Jessie Auritt’s short film “The Paint Wizzard,” Millicent McCrory’s flamboyant look generates questions.
Photo Booth
A Nonbinary Artist’s Chronicle of “Puberty”
In their self-portrait series, Laurence Philomene toys with the notion of gender transition as a kind of adolescence, finding moments when new physical forms shift social roles.
By Crispin Long
Profiles
Harris Reed’s Gender-Fluid Fashion
The British-American designer is helping such celebrities as Harry Styles and Solange play with stereotypes of masculinity and femininity.
By Rebecca Mead
On Religion
The Unmaking of Biblical Womanhood
How a nascent movement against complementarianism is confronting Christian patriarchy from within.
By Eliza Griswold
Under Review
The Stinging Provocations of Virginie Despentes
In her Vernon Subutex novels, which were huge best-sellers in France, one feels the collapse of a national myth—and a crippling disorientation in its place.
By Emily Witt