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The New Yorker

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5 days ago
Photo by The New Yorker on July 20, 2026. May be an image of magazine, poster and text that says 'THE DIVINE THEDIVINERED-CARPET RED-CARPET LOOKS OF "THE ODYSSEY" PRESS TOUR'.
Photo by The New Yorker on July 20, 2026. May be an image of one or more people, makeup, dress, gown and text that says 'DYSS Y SSE Ε S.S Method Dressing: when movie stars dress to match whatever project they are currently promoting'.
Photo by The New Yorker on July 20, 2026. May be a black-and-white image of text that says 'The style has become the de-facto strategy for stars rolling out a big release, but "The Odyssey" Press Tour's Method Dressing felt "gleefully spontaneous," according to Rachel Syme. NEW NEWYORKER YORKER'.
Photo by The New Yorker on July 20, 2026. May be an image of one or more people, dress, jumpsuit and text that says 'Lupita Nyong'o, who plays Helen of Troy, has accurately conjured "the most beautiful woman the world."'.
Photo by The New Yorker on July 20, 2026. May be an image of one or more people, makeup, dress, gown and text.
Photo by The New Yorker on July 20, 2026. May be a black-and-white image of text that says '"Even these screen deities, so far removed from the rest of us, are ultimately tied to mere mortal concerns: no matter how sparkly and sublime the clothes, they are there to sell you something be it a fantasy or a film ticket." Rachel Syme NEWYORKER YORKER NEW'.
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Posted On: July 20th 2026, 05:30 pm
Method Dressing, a term first coined by Vogue writer André Wheeler, refers to movie stars dressing to match whatever project they are currently promoting. Look around, and you’ll see Method Dressing everywhere. The trend began as a trickle—Halle Bailey showing up in seafoam gowns during the press run for “The Little Mermaid”—but it reached an apotheosis in the summer of 2023 with the “Barbie” press tour and Margot Robbie’s coordinated, pink outfits.

Now Method Dressing is the de-facto tactic for stars rolling out a big release, and Christopher Nolan’s “The Odyssey” was no exception. But, according to Rachel Syme, this exercise in Method Dressing felt different, seeming “remarkably joyful and even, at moments, gleefully spontaneous.” At the link in our bio, read more about the red-carpet looks of “The Odyssey” press tour.

Photo illustration by Ben Kothe / The New Yorker; Source photographs from Getty. Photographs by Kevin Mazur / Getty / Universal Pictures; Theo Wargo / WireImage; Taylor Hill / Getty.
Comments (49)
elr_now 3 days ago

elr_now

There’s nothing ethereal about Zendaya’s look.

bellefoxrendezvous 3 days ago

bellefoxrendezvous

They don't look great.

fpl.sillycon 3 days ago

fpl.sillycon

If Lupita is the most beautiful woman in the world, I am the most handsome guy in this universe.🙄 Astoundingly delusional.

aynurvonerdem 4 days ago

aynurvonerdem

👏👏👏👏

katehilton73 4 days ago

katehilton73

Goddesses 🔥

the_panda_bear 4 days ago

the_panda_bear

These kind of celebrity worship posts are cringey AF

hillaryannellejoyce 4 days ago

hillaryannellejoyce

🔥🔥🔥🔥🔥

mike_fabbri 5 days ago

mike_fabbri

@micaela in awe of you !! 🤩

_flores_padua 5 days ago

_flores_padua

Samantha Morton's performance 👌💯

chiabeanie 5 days ago

chiabeanie

So over this movie, we want Avengers thanks

labelleloshe 5 days ago

labelleloshe

But....it has been the history of the world! Is up to the viewer to buy into it. This group was specially beautiful.🌠

starpup72 5 days ago

starpup72

comment media

motoredheart 5 days ago

motoredheart

Thank you for showing Samantha, who @variety and @vanityfair neglected to show.

accidentalhost 5 days ago

accidentalhost

Remember when the Newyorker reported on world events, ongoing genocides and the climate collapse, now it’s simply a rag from rich celebrities and MetGalas

missygartner 5 days ago

missygartner

Lupita’s hair is beyond goddess! The clothes are amazing on all of them, but her hair and Samantha Morton’s smoldering look caught my attention.

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Christopher Nolan shot “The Odyssey” entirely on IMAX 70-mm. cameras, making it the first-ever feature film to do so. To experience the film in its intended analog format, viewers need to sojourn to one of the 25 theatres in the country equipped to project it. Presale tickets for these screenings went live last summer, before “The Odyssey” had even finished filming; nearly every ticket sold within an hour of its listing. A frenzied resale market followed, and scams abounded.“For viewers determined to see Nolan’s film on the biggest screen imaginable, the risk may be worth it,” Brady Brickner-Wood writes. Still, for people who don’t live anywhere near an IMAX 70-mm. theatre, the insistence that a film like “The Odyssey” must be seen in a particular format can feel like a cheap marketing ploy, a clever way for studios to sell more tickets. The scarcity of these screenings, too, has raised a broader question around whether the theatrical exhibition will ultimately morph into a luxury experience reserved for those who can cover exorbitant resale ticket fees and gain access to the right theatres. Read the full story at the link in our bio. Illustration by Ariel Davis (@arieldavi.s).
“The Aqueduct is a loser’s track: grimy, poorly lit, and devoid of affectation,” Rebecca Egan McCarthy writes, about the 132-year-old horse-racing track, wedged next to J.F.K. airport. In December, it was announced that the Aqueduct would be closing, as part of a deal with New York State to consolidate racing at nearby Belmont Park. Fans and critics of the sport see the closure as a manifestation of a larger threat facing the racing industry. Fewer people are attending live races, and fewer people are betting on horses. In some states, including New York, the sport is largely bolstered by state-subsidized loans. “There is no real way to defend the sport,” McCarthy writes. Racing kills about 850 horses each year in the U.S. When private training facilities are included, the annual death toll may reach 1,800. At the link in our bio, McCarthy reports from the Aqueduct in its final days. Photographs by Coco McPherson (@coco_goodbyenewyork).
A previously unpublished stash of Polaroids by Emily Shur (@emilyshur), dating from 2002 to 2009, provides a portal to a bygone era of fame. At the time, Shur was an in-demand celebrity photographer for such magazines as GQ, Spin, Rolling Stone, and People, with subjects ranging from movie stars and rappers to the boy-faced Mark Zuckerberg. The Polaroids were meant as throwaways—an intermediate step in a process that would culminate in a glossy final image—but Shur never threw them out. “It was such a period of growth for me as a photographer,” Shur told Michael Shulman, about the years represented by the Polaroids. “I really found myself, I’d say.” At the link in our bio, see more of Shur’s celebrity portraits.Photographs by Emily Shur.A previously unpublished cache of Polaroids by Emily Shur, dating from 2002 to 2009, provides a portal to a bygone era of fame.Amanda Seyfried, 2008.“He was very bummed that he was smiling,” Shur said, of photographing Ghostface Killah in 2003.Shur said her 2003 shoot of Kid Rock involved a lot of “loud” poses of the artist in his “ugly leather jacket and hat.” Yet the Polaroid is more subdued: “I was unsure if he was going to be down to take those quieter pictures, and he was.”Zach Braff, 2006.“I remember being really frazzled,” Shur recalled, of shooting Jane Goodall in 2003. “I was, like, Please, please, be careful! She said something, like, ‘Honey, I live in the jungle.’ ”“That’s one of those pictures where I really felt, like, I fucking nailed this,” Shur said, of photographing Danger Mouse, in 2005, posed with a guy dressed as the Grim Reaper and making grilled cheese.“The progression to get to that shot was impactful for me personally,” Shur reminisced, about shooting Mike Gordon, the bassist for Phish, in a bathtub with his instrument.Jenna Fischer, 2006.Jason Schwartzman, 2007.Outkast, 2006.
The New Yorker film critic Richard Brody discusses his three favorite films of 2026 so far—a historical documentary, a movie starring a British pop star, and a Canadian filmmaker’s feature debut.
Method Dressing, a term first coined by Vogue writer André Wheeler, refers to movie stars dressing to match whatever project they are currently promoting. Look around, and you’ll see Method Dressing everywhere. The trend began as a trickle—Halle Bailey showing up in seafoam gowns during the press run for “The Little Mermaid”—but it reached an apotheosis in the summer of 2023 with the “Barbie” press tour and Margot Robbie’s coordinated, pink outfits.Now Method Dressing is the de-facto tactic for stars rolling out a big release, and Christopher Nolan’s “The Odyssey” was no exception. But, according to Rachel Syme, this exercise in Method Dressing felt different, seeming “remarkably joyful and even, at moments, gleefully spontaneous.” At the link in our bio, read more about the red-carpet looks of “The Odyssey” press tour.Photo illustration by Ben Kothe / The New Yorker; Source photographs from Getty. Photographs by Kevin Mazur / Getty / Universal Pictures; Theo Wargo / WireImage; Taylor Hill / Getty.
When Cece Ogbuji was 15 years old, she heard a strange voice coming from another room. “Oh, my God, O.K., so, Sapphire,” her mom said, “let me just tell you this.” “I’m all ears, Roschelle,” a female voice replied. Cece got out of bed, put on a pair of fuzzy pink slippers, and stomped to her mother’s office. Roschelle was facing a small gray orb on her floor. She was talking to an Amazon Echo—often referred to as an Alexa.The Amazon Echo has been around for over a decade, but, just last summer, Amazon created an A.I. bot, called Alexa+, and uploaded it to millions of devices. Roschelle was speaking with her Alexa+ chatbot, which she had programmed with a “feminine, upbeat” voice and named Sapphire. She asked Sapphire for advice on parenting Zi, a teen-age girl with autism. She talked about a rare tumor she had in her adrenal gland. She confided in Sapphire about the death of her first three daughters, whom she had lost in a house fire 18 years earlier. A friend once asked her what would happen if the orb stopped working one day. “But think about this,” Roschelle told the friend. “Sapphire never dies.”At the link in our bio, Jessica Contrera traces the everyday lives of Roschelle, a single mother, and of her two daughters, and how each relies on chatbots to share the burden of living. Photograph by Stephanie Mei-Ling (@stephaniemeiling) for The New Yorker.
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