Kathryn Vanarendonk is a critic at New York Magazine. She writes extensively about TV and comedy, passionately defending the unique qualities of television against the notion that it can be reduced to a mere "10 hour movie." Her work has also been featured in Magzter and Vulture, focusing on themes in arts and entertainment, particularly theater.
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Toronto, Canada (Local)
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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 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.
In season ten, Summer House stopped being about fun and started being about existential dread.
There are no guarantees, in life or on hellmouth islands, but if any show can pull it off, it’s this one.
The show’s stars, Elisabeth Moss, Chase Infiniti, and Lucy Halliday, joined us for a discussion about season one — and the ways they unwound.
A new adaptation of the Laura Ingalls Wilder series punctures the fantasy.
