TV

Style and substance.

The technology is now popping up onscreen in everything from “The Morning Show” to “St. Denis Medical”—but nothing on air this year could compete with reality.

Republican-backed funding cuts go way beyond NPR and PBS. Radio and TV stations from Alaska to the Allegheny Mountains may never be the same.

America’s TV-obsessed President has made his rambling Oval Office press gaggles the signature of his second term—chaotic, self-aggrandizing, random, and frequently nasty.

Max’s new medical drama puts the daily grind of a resource-strapped E.R. on full display. At a time when Americans are angrier at the health-care system than ever, is the genre changing to meet the moment?

The new season of the Apple TV+ show is the latest in a string of entertainments—including several Oscar nominees—that feature split personalities. Why is this nineteenth-century trope back in such force today?

Carson pioneered a new style of late-night hosting—relaxed, improvisatory, risk-averse, and inscrutable.

A fascination with mysticism has swept across the culture, cropping up in astrology apps such as Co-Star and shows like “The Curse” and “True Detective.” What does our obsession with predicting the future say about our present?

How Vice-President Harris’s public persona has evolved, from tough prosecutor to frozen interviewee to joyful candidate.

After twelve seasons and nearly twenty-five years, Larry David’s masterpiece of observational comedy has come to an end. What does it mean to say goodbye to a work of fiction that’s become a fixture in our everyday lives?

Vinson Cunningham discusses his début novel, “Great Expectations,” a bildungsroman that captures a particular moment in American life—and that offers some clues about where the genre is heading.

From Adelle Waldman’s novel “Help Wanted” to the sci-fi-inflected Apple TV+ show “Severance,” fictional depictions of work are getting darker, or at least stranger. What can the state of the workplace in art tell us about the workplace in life?

In its surreal final episode, the Showtime series reaches great new heights.

“The Buccaneers,” a new television series based on the Edith Wharton novel of the same name, is the latest in a string of shows to mix a historical setting and a distinctly modern sensibility. Are the updates revelatory, or pandering?

A conversation with the acclaimed comic and essayist about humor as a coping strategy, her work on the divisive “Sex and the City” reboot, and the future of comedy.

The latest “Bachelor” spinoff, whose contestants are all in their sixties and seventies, has proved wildly successful and unexpectedly heartfelt—but is its vision of older love radical or regressive?

Catching up with America’s favorite pretentious narcissist.

A four-part Apple TV+ series, “The Super Models,” traces the transformation of Naomi Campbell, Christy Turlington, Cindy Crawford, and Linda Evangelista into a new cultural category.

A bartender, a background actor, a shrink, a hair stylist—a psychic inventory of a city in stasis.

The C.E.O. of a conglomerate that includes Warner Bros. studios, CNN, and HBO takes on an entertainment business in turmoil.