“Hit Man,” a new film directed by Richard Linklater, is not, in fact, about a hit man. The movie follows Gary Johnson (Glen Powell), a mild-mannered philosophy professor who assists law enforcement in sting operations by posing as a contract killer—and playing on the expectations stoked by Hollywood. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss the history of the archetype, from the 1942 noir “This Gun for Hire” to Tarantino’s “Pulp Fiction” and the “John Wick” franchise, and explore why audiences have so enthusiastically embraced a figure that, contrary to the media’s depiction, is basically nonexistent in real life. “It’s a fantasy of what would happen if our rage was optimized, much like our sleep and our work day and our workouts,” says Fry. “And if it comes with a side of wearing a suit that looks great—even better.”

Read, watch, and listen with the critics:
“Collateral” (2004)
“Pulp Fiction” (1994)
“No Country for Old Men” (2007)
“Hit Man” (2024)
“Dazed and Confused” (1993)
“Hit Men Are Easy to Find in the Movies. Real Life Is Another Story,” by Jessie McKinley (The New York Times)
“This Gun for Hire” (1942)
“Le Samouraï” (1967)
“The Killer” (2023)
“Aggro Dr1ft” (2024)
“John Wick” (2014)
“Barry” (2018-23)

New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.

In recent years, in the realms of self-improvement literature, Instagram influencers, and wellness gurus, an idea has taken hold: that in a non-stop world, the act of slowing down offers a path to better living. In this episode of Critics at Large, the staff writers Vinson Cunningham, Naomi Fry, and Alexandra Schwartz trace the rise of “slowness culture”—from Carl Honoré’s 2004 manifesto to pandemic-era trends of mass resignations and so-called quiet quitting. The hosts discuss the work of Jenny Odell, whose books “How to Do Nothing” and “Saving Time” frame reclaiming one’s time as a life-style choice with radical roots and revolutionary political potential. But how much does an individual’s commitment to leisure pay off on the level of the collective? Is too much being laid at the feet of slowness? “For me, it’s about reclaiming an aspect of humanness, just the experience of not having to make the most with everything we have all the time,” Schwartz says. “There can be a degree of self-defeating critique where you say, ‘Oh, well, this is only accessible to the privileged few.’ And I think the better framing is, how can more people access that kind of sitting with humanness?”

Read, watch, and listen with the critics:

“How Millennials Became the Burnout Generation,” by Anne Helen Petersen (BuzzFeed)
“How to Do Nothing: Resisting the Attention Economy,” by Jenny Odell
“Improving Ourselves to Death,” by Alexandra Schwartz (The New Yorker)
“In Praise of Slowness: Challenging the Cult of Speed,” by Carl Honoré
“The Sabbath,” by Abraham Joshua Heschel
“Saving Time: Discovering a Life Beyond Productivity Culture,” by Jenny Odell
“Slow Down: The Degrowth Manifesto,” by Kohei Saito

New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.

This episode originally aired on January 11, 2024.

From John Cheever’s 1964 short story “The Swimmer” to Elizabeth Gilbert’s best-selling 2006 memoir, “Eat, Pray, Love,” our culture has long grappled with what it means to enter middle age. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz examine depictions of that tipping point—and of the crises that often come with it. In the mid-twentieth century (and, depending on your reading of Dante and Balzac, long before that), the phenomenon was largely the purview of men, but massive societal shifts, beginning with the women’s rights movement, have yielded a new archetype. The hosts discuss how novels like Miranda July’s “All Fours” and Dana Spiotta’s “Wayward” have updated the genre for the modern age. “I think the crisis of midlife,” Schwartz says, “is just the crisis of life, period. You invent it for yourself.”

Read, watch, and listen with the critics:

“Miranda July Turns the Lights On,” by Alexandra Schwartz (The New Yorker)
“All Fours,” by Miranda July
“Me and You and Everyone We Know” (2005)
“Inferno,” by Dante Alighieri
“Mrs. Dalloway,” by Virginia Woolf
“Cousin Bette,” by Honoré de Balzac
“The Swimmer,” by John Cheever (The New Yorker)
“The Swimmer” (1968)
“The Women’s Room,” by Marilyn French
“Wifey,” by Judy Blume
“This Isn’t What Millennial Middle Age Was Supposed to Look Like,” by Jessica Grose (The New York Times)
“Wayward,” by Dana Spiotta
“Eat, Pray, Love,” by Elizabeth Gilbert
“Eat, Pray, Love” (2010)
New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.