Kathryn Vanarendonk is a critic at New York Magazine. She writes about TV and comedy, often expressing her frustration with the oversimplification of television as merely a "10 hour movie." Kathryn's insights and critiques have also been featured in Magzter and Vulture.
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Kathryn Vanarendonk's articles focus on entertainment, including reviews and expert commentary. She may be interested in pitches related to new and unique aspects of the entertainment industry such as thought-provoking analysis or insider perspectives on television shows, comedy specials, and other forms of entertainment.
Given her interest in providing expert commentary and reviews within the field of entertainment, she might be receptive to pitches from individuals who have deep insights into trending TV shows, comedy specials or specific elements of popular culture. This could include writers, entertainers or critics with a fresh perspective on ongoing trends in the industry.
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The Lowdown finds hope in a world where most crimes go unpunished.
Why do so many shows keep making episodes that feel like unnecessary homework?
The brave wee peelers of Blue Lights are just doing the best they can, and that makes for addictive drama.
Yes, he has answers about that finale — and that cliffhanger — but he’s more interested in viewers’ interpretations.
The franchise cast her to save itself and imploded instead.
TikTok-groomed eyebrows and looksmaxxed cheekbones make it hard to buy this adaptation’s critique of musty Victorian ideals.
The unlikely crime caper from Dan Levy and Rachel Sennott is more Schitt’s Creek, less Beef than it first appears.
On the set of The Pitt finale, the acclaimed series zooms in on its main character.
Honestly, it’s worth the Epix subscription.
Too many current crime stories neglect an important feature of the amateur detective.
