{"id":641,"date":"2026-07-29T11:29:36","date_gmt":"2026-07-29T04:29:36","guid":{"rendered":"https:\/\/blogtamsu.com.vn\/?p=641"},"modified":"2026-07-29T11:29:36","modified_gmt":"2026-07-29T04:29:36","slug":"the-sunlit-joylessness-of-netflixs-little-house-on-the-prairie","status":"publish","type":"post","link":"https:\/\/blogtamsu.com.vn\/index.php\/2026\/07\/29\/the-sunlit-joylessness-of-netflixs-little-house-on-the-prairie\/","title":{"rendered":"The Sunlit Joylessness of Netflix\u2019s \u201cLittle House on the Prairie\u201d"},"content":{"rendered":"<div id=\"reader-estimated-time\" dir=\"auto\"><\/div>\n<hr \/>\n<div id=\"readability-page-1\" class=\"page\">\n<div id=\"main-content\" tabindex=\"-1\">\n<article lang=\"en-US\">\n<div dir=\"auto\">\n<div>\n<header>\n<div data-testid=\"ContentHeaderContainer\">\n<div>\n<div data-testid=\"ContentHeaderAccreditation\">\n<p>The new adaptation, though visually exquisite, swaps the story\u2019s much-loved comfort for dutiful tedium.<\/p>\n<\/div>\n<\/div>\n<div>\n<div data-testid=\"ContentHeaderLeadAsset\">\n<figure>\n<div>\n<p>&nbsp;<\/p>\n<div data-testid=\"aspect-ratio-container\">\n<div><picture tabindex=\"0\" role=\"button\"><source srcset=\"https:\/\/media.newyorker.com\/photos\/6a67bbcede5290e0d5a6641f\/master\/w_120,c_limit\/Larson_Prarie_LHOTP_108_Unit_00940RC.jpg 120w, https:\/\/media.newyorker.com\/photos\/6a67bbcede5290e0d5a6641f\/master\/w_240,c_limit\/Larson_Prarie_LHOTP_108_Unit_00940RC.jpg 240w, https:\/\/media.newyorker.com\/photos\/6a67bbcede5290e0d5a6641f\/master\/w_320,c_limit\/Larson_Prarie_LHOTP_108_Unit_00940RC.jpg 320w, https:\/\/media.newyorker.com\/photos\/6a67bbcede5290e0d5a6641f\/master\/w_640,c_limit\/Larson_Prarie_LHOTP_108_Unit_00940RC.jpg 640w, https:\/\/media.newyorker.com\/photos\/6a67bbcede5290e0d5a6641f\/master\/w_960,c_limit\/Larson_Prarie_LHOTP_108_Unit_00940RC.jpg 960w\" media=\"(max-width: 767px)\" sizes=\"100vw\" \/><source srcset=\"https:\/\/media.newyorker.com\/photos\/6a67bbcede5290e0d5a6641f\/master\/w_120,c_limit\/Larson_Prarie_LHOTP_108_Unit_00940RC.jpg 120w, https:\/\/media.newyorker.com\/photos\/6a67bbcede5290e0d5a6641f\/master\/w_240,c_limit\/Larson_Prarie_LHOTP_108_Unit_00940RC.jpg 240w, https:\/\/media.newyorker.com\/photos\/6a67bbcede5290e0d5a6641f\/master\/w_320,c_limit\/Larson_Prarie_LHOTP_108_Unit_00940RC.jpg 320w, https:\/\/media.newyorker.com\/photos\/6a67bbcede5290e0d5a6641f\/master\/w_640,c_limit\/Larson_Prarie_LHOTP_108_Unit_00940RC.jpg 640w, https:\/\/media.newyorker.com\/photos\/6a67bbcede5290e0d5a6641f\/master\/w_960,c_limit\/Larson_Prarie_LHOTP_108_Unit_00940RC.jpg 960w, https:\/\/media.newyorker.com\/photos\/6a67bbcede5290e0d5a6641f\/master\/w_1280,c_limit\/Larson_Prarie_LHOTP_108_Unit_00940RC.jpg 1280w, https:\/\/media.newyorker.com\/photos\/6a67bbcede5290e0d5a6641f\/master\/w_1600,c_limit\/Larson_Prarie_LHOTP_108_Unit_00940RC.jpg 1600w, https:\/\/media.newyorker.com\/photos\/6a67bbcede5290e0d5a6641f\/master\/w_1920,c_limit\/Larson_Prarie_LHOTP_108_Unit_00940RC.jpg 1920w, https:\/\/media.newyorker.com\/photos\/6a67bbcede5290e0d5a6641f\/master\/w_2240,c_limit\/Larson_Prarie_LHOTP_108_Unit_00940RC.jpg 2240w\" media=\"(min-width: 768px)\" sizes=\"100vw\" \/><img decoding=\"async\" src=\"https:\/\/media.newyorker.com\/photos\/6a67bbcede5290e0d5a6641f\/master\/w_2560%2Cc_limit\/Larson_Prarie_LHOTP_108_Unit_00940RC.jpg\" alt=\"Four figures sit in a horse drawn wagon\" data-src=\"https:\/\/media.newyorker.com\/photos\/6a67bbcede5290e0d5a6641f\/master\/w_2560%2Cc_limit\/Larson_Prarie_LHOTP_108_Unit_00940RC.jpg\" \/><\/picture><\/div>\n<\/div>\n<p>&nbsp;<\/p>\n<p>Photograph by Eric Zachanowich \/ Netflix<\/p>\n<\/div>\n<\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/header>\n<\/div>\n<\/div>\n<div dir=\"auto\" data-attribute-verso-pattern=\"article-body\">\n<div>\n<div>\n<div data-testid=\"ArticlePageChunks\">\n<div data-journey-hook=\"grid-wrapper\">\n<div>\n<div data-journey-hook=\"client-content\" data-testid=\"BodyWrapper\">\n<div>\n<div>\n<p>Your window is closing.<\/p>\n<p>Don\u2019t lose these views. Get full access for\u00a0<del>$2.50<\/del>\u00a0$1 a week for one year, plus a free tote. Cancel or pause anytime.<\/p>\n<p><a href=\"https:\/\/www.newyorker.com\/v2\/offers\/tnya01062?source=Site_0_JNY_NYR_DESKTOP_PAYWALL_IN_CONTENT_BARRIER_FILLED_0_HARD_GATE_INTL_MARCH_2026_ZZ&amp;redirectURL=https%3A%2F%2Fwww.newyorker.com%2Fculture%2Fon-television%2Fthe-sunlit-joylessness-of-netflixs-little-house-on-the-prairie\" type=\"\" data-event-click=\"{&quot;element&quot;:&quot;Button&quot;,&quot;outgoingURL&quot;:&quot;https:\/\/www.newyorker.com\/v2\/offers\/tnya01062?source=Site_0_JNY_NYR_DESKTOP_PAYWALL_IN_CONTENT_BARRIER_FILLED_0_HARD_GATE_INTL_MARCH_2026_ZZ&amp;redirectURL=https%3A%2F%2Fwww.newyorker.com%2Fculture%2Fon-television%2Fthe-sunlit-joylessness-of-netflixs-little-house-on-the-prairie&quot;}\" data-testid=\"Button\">See Offers<\/a><\/p>\n<p>Already a subscriber?\u00a0<a href=\"https:\/\/www.newyorker.com\/auth\/initiate?source=JOURNEY_PAYWALL&amp;redirectURL=https%3A%2F%2Fwww.newyorker.com%2Fculture%2Fon-television%2Fthe-sunlit-joylessness-of-netflixs-little-house-on-the-prairie\">Sign In<\/a><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/media.newyorker.com\/photos\/65c64f9d87e32c491b5a5d41\/original\/pass\/TNY_MeterTest_B_FinalCanvas_DT_375x250_rev.png?format=original\" alt=\"Subscription Offer\" \/><\/p>\n<\/div>\n<p>Unlock this story for just\u00a0<del>$2.50<\/del>\u00a0$1 a week for 1 year.\u00a0<a href=\"https:\/\/www.newyorker.com\/v2\/offers\/tnya01062?source=Site_0_JNY_NYR_DESKTOP_PAYWALL_IN_CONTENT_BARRIER_BAR_FILLED_0_HARD_GATE_INTL_MARCH_2026_ZZ&amp;redirectURL=https%3A%2F%2Fwww.newyorker.com%2Fculture%2Fon-television%2Fthe-sunlit-joylessness-of-netflixs-little-house-on-the-prairie\">Subscribe \u00bb<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/article>\n<div data-event-boundary=\"click\" data-event-click=\"{&quot;pattern&quot;:&quot;ContentFooter&quot;}\" data-in-view=\"{&quot;pattern&quot;:&quot;ContentFooter&quot;}\" data-include-experiments=\"true\">\n<div data-testid=\"RowWrapper\">\n<div data-journey-hook=\"grid-wrapper\">\n<div>\n<div data-testid=\"Contributors\" data-event-boundary=\"click\" data-event-click=\"{&quot;pattern&quot;:&quot;Contributors&quot;}\" data-in-view=\"{&quot;pattern&quot;:&quot;Contributors&quot;}\" data-include-experiments=\"true\">\n<div data-testid=\"contributor-bio-wrapper\" data-event-boundary=\"click\" data-event-click=\"{&quot;pattern&quot;:&quot;ContributorBio&quot;}\" data-in-view=\"{&quot;pattern&quot;:&quot;ContributorBio&quot;}\" data-include-experiments=\"true\">\n<p><a href=\"https:\/\/www.newyorker.com\/contributors\/sarah-larson\"><picture><source srcset=\"https:\/\/media.newyorker.com\/photos\/59097b7aebe912338a378662\/1:1\/w_120,c_limit\/larson-sarah-1.png 120w, https:\/\/media.newyorker.com\/photos\/59097b7aebe912338a378662\/1:1\/w_240,c_limit\/larson-sarah-1.png 240w\" media=\"(max-width: 767px)\" sizes=\"100vw\" \/><source srcset=\"https:\/\/media.newyorker.com\/photos\/59097b7aebe912338a378662\/1:1\/w_120,c_limit\/larson-sarah-1.png 120w, https:\/\/media.newyorker.com\/photos\/59097b7aebe912338a378662\/1:1\/w_240,c_limit\/larson-sarah-1.png 240w\" media=\"(min-width: 768px)\" sizes=\"100vw\" \/><img decoding=\"async\" src=\"https:\/\/media.newyorker.com\/photos\/59097b7aebe912338a378662\/1:1\/w_270%2Cc_limit\/larson-sarah-1.png\" alt=\"\" data-src=\"https:\/\/media.newyorker.com\/photos\/59097b7aebe912338a378662\/1:1\/w_270%2Cc_limit\/larson-sarah-1.png\" \/><\/picture><\/a><\/p>\n<div>\n<p><a href=\"https:\/\/www.newyorker.com\/contributors\/sarah-larson\">Sarah Larson<\/a>, a staff writer, has been contributing to\u00a0<em>The New Yorker<\/em>\u00a0since 2007.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div data-testid=\"ContentFooterBottom\">\n<div>\n<div>\n<div data-journey-hook=\"grid-wrapper\">\n<div>\n<div data-event-boundary=\"click\" data-event-click=\"{&quot;pattern&quot;:&quot;ConnectedNewsletterSubscribeForm&quot;}\" data-in-view=\"{&quot;pattern&quot;:&quot;ConnectedNewsletterSubscribeForm&quot;}\" data-include-experiments=\"true\">\n<div data-testid=\"NewsletterSubscribeFormWrapper\">\n<div role=\"status\" aria-live=\"polite\" data-testid=\"NewsletterSubscribeFormHedDekWrapper\">\n<h3>The Goings On Newsletter<\/h3>\n<p>What we&#8217;re watching, listening to, and doing this week in N.Y.C, and beyond<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div data-attr-viewport-monitor=\"\">\n<div>\n<div data-testid=\"RowWrapper\">\n<div data-journey-hook=\"grid-wrapper\">\n<div>\n<div>\n<p data-testid=\"SectionTitle\" data-event-boundary=\"click\" data-event-click=\"{&quot;pattern&quot;:&quot;SectionTitle&quot;}\" data-in-view=\"{&quot;pattern&quot;:&quot;SectionTitle&quot;}\" data-include-experiments=\"true\">\n<header>Read More<\/header>\n<p>&nbsp;<\/p>\n<div data-testid=\"SummaryCollectionGridItems\">\n<div tabindex=\"0\" role=\"button\" data-item=\"{&quot;dangerousHed&quot;:&quot;Eight Great American Novels&quot;,&quot;index&quot;:0,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;\/books\/what-were-reading\/eight-great-american-novels#intcid=recommendations_the-new-yorker-article-bottom-recirc-personalized_dc4632f1-611b-461c-a6a7-5d92f6cf2fc2_closr_fallback_text2vec1_bkta&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}\" data-event-boundary=\"click\" data-event-click=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-in-view=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-include-experiments=\"true\">\n<div>\n<p>Eight Great American Novels<\/p>\n<p>Our staffers on good books for America\u2019s big birthday.<\/p>\n<\/div>\n<\/div>\n<div tabindex=\"0\" role=\"button\" data-item=\"{&quot;dangerousHed&quot;:&quot;Briefly Noted&quot;,&quot;index&quot;:1,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;\/magazine\/2026\/07\/27\/talking-classics-the-cruelty-of-nice-folks-glyph-a-real-animal#intcid=recommendations_the-new-yorker-article-bottom-recirc-personalized_dc4632f1-611b-461c-a6a7-5d92f6cf2fc2_closr_fallback_text2vec1_bkta&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}\" data-event-boundary=\"click\" data-event-click=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-in-view=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-include-experiments=\"true\">\n<div>\n<p>Briefly Noted<\/p>\n<p>\u201cTalking Classics,\u201d \u201cThe Cruelty of Nice Folks,\u201d \u201cGlyph,\u201d and \u201cA Real Animal.\u201d<\/p>\n<\/div>\n<\/div>\n<div tabindex=\"0\" role=\"button\" data-item=\"{&quot;dangerousHed&quot;:&quot;Eric Bogosian\u2019s Killer Gig&quot;,&quot;index&quot;:2,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;\/magazine\/2026\/07\/27\/eric-bogosians-killer-gig#intcid=recommendations_the-new-yorker-article-bottom-recirc-personalized_dc4632f1-611b-461c-a6a7-5d92f6cf2fc2_closr_fallback_text2vec1_bkta&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}\" data-event-boundary=\"click\" data-event-click=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-in-view=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-include-experiments=\"true\">\n<div>\n<p>Eric Bogosian\u2019s Killer Gig<\/p>\n<p>The actor plays a journalist in AMC\u2019s \u201cInterview with the Vampire.\u201d In the story\u2019s latest installment, his beat has become a lot bloodier.<\/p>\n<\/div>\n<\/div>\n<div tabindex=\"0\" role=\"button\" data-item=\"{&quot;dangerousHed&quot;:&quot;The Simple Genius of Jon Klassen&quot;,&quot;index&quot;:3,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;\/books\/page-turner\/the-simple-genius-of-jon-klassen#intcid=recommendations_the-new-yorker-article-bottom-recirc-personalized_dc4632f1-611b-461c-a6a7-5d92f6cf2fc2_closr_fallback_text2vec1_bkta&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}\" data-event-boundary=\"click\" data-event-click=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-in-view=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-include-experiments=\"true\">\n<div>\n<p>The Simple Genius of Jon Klassen<\/p>\n<p>The author and illustrator of \u201cI Want My Hat Back\u201d understands how children see.<\/p>\n<\/div>\n<\/div>\n<div tabindex=\"0\" role=\"button\" data-item=\"{&quot;dangerousHed&quot;:&quot;Christopher Nolan\u2019s \u201cThe Odyssey\u201d Leaves the Gods in the Outtakes&quot;,&quot;index&quot;:4,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;\/magazine\/2026\/07\/27\/the-odyssey-christopher-nolan-movie-review#intcid=recommendations_the-new-yorker-article-bottom-recirc-personalized_dc4632f1-611b-461c-a6a7-5d92f6cf2fc2_closr_fallback_text2vec1_bkta&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}\" data-event-boundary=\"click\" data-event-click=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-in-view=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-include-experiments=\"true\">\n<div>\n<p>Christopher Nolan\u2019s \u201cThe Odyssey\u201d Leaves the Gods in the Outtakes<\/p>\n<p>The director\u2019s Homer adaptation presents a modern, relatable Odysseus, rather than trying to understand the ancient world on its own terms.<\/p>\n<\/div>\n<\/div>\n<div tabindex=\"0\" role=\"button\" data-item=\"{&quot;dangerousHed&quot;:&quot;American Idols&quot;,&quot;index&quot;:5,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;\/culture\/annals-of-inquiry\/american-idols#intcid=recommendations_the-new-yorker-article-bottom-recirc-personalized_dc4632f1-611b-461c-a6a7-5d92f6cf2fc2_closr_fallback_text2vec1_bkta&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}\" data-event-boundary=\"click\" data-event-click=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-in-view=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-include-experiments=\"true\">\n<div>\n<p>American Idols<\/p>\n<p>Who\u2019s your favorite American? We asked a range of luminaries, and the answers included scientists, playwrights, pop stars, bureaucrats\u2014and one cartoon character.<\/p>\n<\/div>\n<\/div>\n<div tabindex=\"0\" role=\"button\" data-item=\"{&quot;dangerousHed&quot;:&quot;There\u2019s Nothing Provincial About This Three-Volume Icelandic Saga&quot;,&quot;index&quot;:6,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;\/books\/under-review\/theres-nothing-provincial-about-this-three-volume-icelandic-saga#intcid=recommendations_the-new-yorker-article-bottom-recirc-personalized_dc4632f1-611b-461c-a6a7-5d92f6cf2fc2_closr_fallback_text2vec1_bkta&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}\" data-event-boundary=\"click\" data-event-click=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-in-view=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-include-experiments=\"true\">\n<div>\n<p>There\u2019s Nothing Provincial About This Three-Volume Icelandic Saga<\/p>\n<p>J\u00f3n Kalman Stef\u00e1nsson\u2019s \u201cTrilogy About the Boy\u201d is set in the remote Westfjords but its ambition is universal.<\/p>\n<\/div>\n<\/div>\n<div tabindex=\"0\" role=\"button\" data-item=\"{&quot;dangerousHed&quot;:&quot;A Dying Poet\u2019s Farewell to the World&quot;,&quot;index&quot;:7,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;\/magazine\/2026\/07\/20\/axe-in-blossom-franz-wright-book-review#intcid=recommendations_the-new-yorker-article-bottom-recirc-personalized_dc4632f1-611b-461c-a6a7-5d92f6cf2fc2_closr_fallback_text2vec1_bkta&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}\" data-event-boundary=\"click\" data-event-click=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-in-view=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-include-experiments=\"true\">\n<div>\n<p>A Dying Poet\u2019s Farewell to the World<\/p>\n<p>In his final days, Franz Wright tapped into a rich vein of material, recording dark, beautiful, and self-deprecating poems on tape and in scribbles all over his apartment.<\/p>\n<\/div>\n<\/div>\n<div tabindex=\"0\" role=\"button\" data-item=\"{&quot;dangerousHed&quot;:&quot;The Kinky Comedy of \u201cI Want Your Sex\u201d&quot;,&quot;index&quot;:8,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;\/magazine\/2026\/08\/03\/i-want-your-sex-movie-review#intcid=recommendations_the-new-yorker-article-bottom-recirc-personalized_dc4632f1-611b-461c-a6a7-5d92f6cf2fc2_closr_fallback_text2vec1_bkta&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}\" data-event-boundary=\"click\" data-event-click=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-in-view=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-include-experiments=\"true\">\n<div>\n<p>The Kinky Comedy of \u201cI Want Your Sex\u201d<\/p>\n<p>In Gregg Araki\u2019s film, a B.D.S.M. workplace relationship opens up a cross-generational debate about carnal mores.<\/p>\n<\/div>\n<\/div>\n<div tabindex=\"0\" role=\"button\" data-item=\"{&quot;dangerousHed&quot;:&quot;\u201cLost Chapters\u201d Weaves Literary Mysteries Into Family Bonds&quot;,&quot;index&quot;:9,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;\/culture\/the-front-row\/lost-chapters-weaves-literary-mysteries-into-family-bonds#intcid=recommendations_the-new-yorker-article-bottom-recirc-personalized_dc4632f1-611b-461c-a6a7-5d92f6cf2fc2_closr_fallback_text2vec1_bkta&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}\" data-event-boundary=\"click\" data-event-click=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-in-view=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-include-experiments=\"true\">\n<div>\n<p>\u201cLost Chapters\u201d Weaves Literary Mysteries Into Family Bonds<\/p>\n<p>The Venezuelan director Lorena Alvarado\u2019s first feature, starring her own relatives in a fictional drama, connects a young woman\u2019s homecoming and her artistic ambitions.<\/p>\n<\/div>\n<\/div>\n<div tabindex=\"0\" role=\"button\" data-item=\"{&quot;dangerousHed&quot;:&quot;Christopher Nolan Has Always Been Making \u201cThe Odyssey\u201d&quot;,&quot;index&quot;:10,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;\/culture\/the-current-cinema\/christopher-nolan-has-always-been-making-the-odyssey#intcid=recommendations_the-new-yorker-article-bottom-recirc-personalized_dc4632f1-611b-461c-a6a7-5d92f6cf2fc2_closr_fallback_text2vec1_bkta&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}\" data-event-boundary=\"click\" data-event-click=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-in-view=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-include-experiments=\"true\">\n<div>\n<p>Christopher Nolan Has Always Been Making \u201cThe Odyssey\u201d<\/p>\n<p>In a starry, stirring adaptation of Homer\u2019s epic, the director\u2019s signature realism grounds, without dispelling, the drama\u2019s emotional and mythological power.<\/p>\n<\/div>\n<\/div>\n<div tabindex=\"0\" role=\"button\" data-item=\"{&quot;dangerousHed&quot;:&quot;Jane Wickline Is Down to Clown in \u201cDukes\u201d&quot;,&quot;index&quot;:11,&quot;contentType&quot;:&quot;venue&quot;,&quot;hotelLink&quot;:&quot;\/magazine\/2026\/08\/03\/jane-wickline-theatre-review#intcid=recommendations_the-new-yorker-article-bottom-recirc-personalized_dc4632f1-611b-461c-a6a7-5d92f6cf2fc2_closr_fallback_text2vec1_bkta&quot;,&quot;layout&quot;:&quot;GridFourColumns&quot;}\" data-event-boundary=\"click\" data-event-click=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-in-view=\"{&quot;pattern&quot;:&quot;SummaryItem&quot;}\" data-include-experiments=\"true\">\n<div>\n<p>Jane Wickline Is Down to Clown in \u201cDukes\u201d<\/p>\n<p>The \u201cS.N.L.\u201d cast member partners with Liva Pierce in a musical revue about best friends with bad jobs and no girlfriends.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>The new adaptation, though visually exquisite, swaps the story\u2019s much-loved comfort for dutiful tedium. &nbsp; &nbsp; Photograph by Eric Zachanowich \/ Netflix Your window is closing. Don\u2019t lose these views. Get full access for\u00a0$2.50\u00a0$1 a week for one year, plus a free tote. Cancel or pause anytime. See Offers Already a subscriber?\u00a0Sign In Unlock this [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-641","post","type-post","status-publish","format-standard","hentry","category-chua-phan-loai"],"_links":{"self":[{"href":"https:\/\/blogtamsu.com.vn\/index.php\/wp-json\/wp\/v2\/posts\/641","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogtamsu.com.vn\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogtamsu.com.vn\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogtamsu.com.vn\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/blogtamsu.com.vn\/index.php\/wp-json\/wp\/v2\/comments?post=641"}],"version-history":[{"count":1,"href":"https:\/\/blogtamsu.com.vn\/index.php\/wp-json\/wp\/v2\/posts\/641\/revisions"}],"predecessor-version":[{"id":642,"href":"https:\/\/blogtamsu.com.vn\/index.php\/wp-json\/wp\/v2\/posts\/641\/revisions\/642"}],"wp:attachment":[{"href":"https:\/\/blogtamsu.com.vn\/index.php\/wp-json\/wp\/v2\/media?parent=641"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogtamsu.com.vn\/index.php\/wp-json\/wp\/v2\/categories?post=641"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogtamsu.com.vn\/index.php\/wp-json\/wp\/v2\/tags?post=641"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}