The New Yorker Radio Hour – July 15, 2025

Hosted by David Remnick

Profile Segment: Carrie Brownstein on Cat Power and Richard Avedon's Portrait

Introduction to Cat Power's Portrait David Remnick opens the episode by reminiscing about a 2003 New Yorker profile of the musician Cat Power (Sean Marshall), complemented by a striking black-and-white portrait by famed photographer Richard Avedon. Remnick highlights how Avedon's photograph positions Cat Power among rock and roll legends.

Carrie Brownstein's Insights Timestamp: [01:06]

Carrie Brownstein, known for her work with the band Slater Kinney and co-creating the sketch show Portlandia, delves into her analysis of Avedon's portrait of Cat Power. She describes the image:

• Appearance: "She's holding up a Bob Dylan T-shirt, which is neither on nor off her body. She's not wearing underwear. There's a lot going on." ([01:24])

• Interpretation: Brownstein reflects on the non-conformist image Cat Power embodies, contrasting it with the typically polished presentations in the New Yorker. She emphasizes the anachronistic feel of the portrait, noting Cat Power's earnest desire to connect through music as a shared existential journey. ([02:24]–[05:20])

Hilton Als' Contribution Timestamp: [02:24]

Hilton Als, the staff writer who penned the original profile, adds depth to the discussion by commenting on Cat Power's emotional complexity: "She aches just like mama. She breaks just like a little girl." ([02:24])

Further Reflections by Brownstein Timestamp: [05:20]–[10:13]

Brownstein reminisces about Cat Power's performances from the You Are Free album era, highlighting the contrast between the fragility celebrated in her music and the chaotic energy of her live shows. She expresses admiration for Cat Power's continued musical contributions, attributing her resiliency to the spirit captured in Avedon's portrait.

Excerpt from Brownstein's Take on the Portrait Timestamp: [08:14]–[11:11]

Brownstein shares poignant observations from her written piece, contemplating the duality in the portrait:

• Double Meaning: "Is she arriving home or going out, dressing or undressing? ... The space is slippery, inaccessible. You're not sure you were even invited." ([10:21])

She concludes that the photograph encapsulates the essence of Cat Power, leaving viewers feeling transient and enigmatic.

Critics at Large: "Materialists," "Too Much," and the Modern Rom-Com

Introduction to the Roundtable David Remnick transitions to a discussion with critics Vincent Cunningham, Nomi Fry, Alexandra Schwartz, and hosted by Megan Stalter. They explore contemporary romantic comedies, focusing on Celine Song's Materialists and Lena Dunham's Netflix show Too Much. The conversation probes whether these works successfully update the rom-com genre for 2025.

Defining a Romantic Comedy Timestamp: [15:24]–[17:00]

The panel outlines essential elements of a rom-com:

• Balance between Fantasy and Reality: "It should be to an extent relatable... but it has to reach for the stars in some way." (Vincent Cunningham, [15:24])

• Hopefulness and Chemistry: Nomi Fry emphasizes the necessity of hope and authentic chemistry between characters, stating, "That's where the magic is." ([16:29])

Iconic Rom-Coms as Benchmarks Timestamp: [18:02]–[24:21]

The critics reflect on classic rom-coms like Working Girl ([18:02]) and You've Got Mail ([19:27]), discussing how these films blend career aspirations with love fulfillment. They highlight the aspirational and transformational aspects that make these movies resonate with audiences.

Contemporary Challenges in the Genre Timestamp: [27:05]–[30:12]

As mainstream tentpole films dominate, the rom-com niche shifts towards independent and experimental productions. Alexandra Schwartz questions whether the genre can innovate amidst changing societal norms and economic landscapes: "Is there anything new for the ROM com to do?" ([14:37]).

Deep Dive: Celine Song's Materialists Timestamp: [27:58]–[38:00]

Synopsis:

• Plot: Lucy (Dakota Johnson) is a matchmaker who views marriages as business transactions. At a wedding she orchestrates, she meets Harry (Pedro Pascal), an ideal yet unattainable suitor, and reconnects with her ex-boyfriend John (Chris Evans), leading to a love triangle.

• Critical Responses:

  • Vincent Cunningham: Finds the film's detached tone a deliberate commentary on transactional relationships but criticizes its monotony: "The soporific vibe... makes it hard to engage emotionally." ([32:35])

  • Nomi Fry: Enjoyed the film's cynical humor and realistic portrayal of relationship anxieties, appreciating the satire on materialism and the commodification of love: "The truthfulness... was refreshing." ([29:49])

  • Alexandra Schwartz: Praises the film's commitment to subverting traditional rom-com tropes but questions its alignment with the genre due to its thriller elements: "It seemed to be just a romantic thriller or horror movie." ([35:00])

Deep Dive: Lena Dunham's Too Much Timestamp: [38:00]–[47:15]

Synopsis:

• Plot: Jessica (Megan Stalter) moves to London after a breakup and quickly enters a new romance with Felix (played by a notable actor). The show explores the complexities of modern relationships amidst personal and professional turmoil.

• Critical Responses:

  • Nomi Fry: Appreciates the show's raw portrayal of relationship dynamics and its challenge to traditional rom-com narratives, though she is critical of the protagonist's demanding nature: "I was harrowed by Jess... Yet, the anti rom-com format was brilliant." ([41:26]–[46:55])

  • Alexandra Schwartz: Highlights Dunham's ability to depict the intense emotional cycles of relationships but expresses concern over the lack of mutual growth in the main characters: "The relationship was harrowing." ([44:22]–[45:00])

Comparative Analysis: Timestamp: [49:16]–[62:27]

The panel juxtaposes Materialists and Too Much, examining their representations of masculinity and economic pressures in relationships:

• Masculinity in Crisis:

  • Materialists portrays contrasting male characters grappling with traditional and vulnerable forms of masculinity.
  • Too Much presents Felix as a sensitive, caring individual, juxtaposed with Jess's ex who embodies toxic masculinity.

• Economic Realities:

  • Materialists is set against a stark economic backdrop, highlighting class disparities and existential insecurities.
  • Too Much touches on financial precarity but maintains a more hopeful tone regarding personal stability.

• Genre Evolution:

  • Both works challenge the rom-com framework by injecting elements of realism, cynicism, and self-discovery, questioning whether the genre can adapt to modern complexities.

Final Thoughts: Timestamp: [62:26]–[62:38]

Nomi Fry and Alexandra Schwartz conclude that while Materialists and Too Much push the boundaries of the rom-com genre, they expose underlying societal tensions and the evolving expectations of relationships. The critics remain cautiously optimistic about the rom-com's potential to reflect and influence contemporary gender dynamics and personal aspirations.

Notable Quotes

• Carrie Brownstein on Non-Conformity:

  "You know, Kat Power is someone I do know personally and she has opened for my band, Slater Kinney... [She] feels like a non conformist, in the truest sense." ([02:43])

• Nomi Fry on Hopefulness in Rom-Coms:

  "That little hope, that little inner shimmy that you want to see someone undergoing, that you want to feel yourself." ([16:29])

• Alexandra Schwartz on Relationship Dynamics:

  "Slow down, our expectations have been defied and come out realizing that you now know what love is because it caught you by surprise." ([24:15])

• Vincent Cunningham on Materialists:

  "The soporific vibe... makes it hard to engage emotionally." ([32:35])

• Nomi Fry on Too Much:

  "It's harrowing. And I was." ([44:59])

Conclusion

The episode masterfully blends an in-depth artist profile with a critical examination of modern romantic comedies, offering listeners both nostalgic reflections and contemporary insights. Carrie Brownstein's analysis of Cat Power's iconic image sets the stage for a thoughtful exploration of authenticity and non-conformity in art, while the roundtable discussion pushes the boundaries of the rom-com genre, questioning its relevance and potential in today's socio-economic landscape.

For those intrigued by the intersections of culture, art, and evolving storytelling, this episode provides a rich tapestry of perspectives and critical thought.