Vinson Cunningham is a critic at The New Yorker. He focuses on culture and society, with particular emphasis on theatre, arts and entertainment, and cultural movements, while also exploring internet and pop culture. Vinson's work has been featured in The New Yorker, NewsBreak, Magzter, Realclearpolitics, and The New York Times.
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Vinson Cunningham's articles cover a wide range of topics from entertainment news, lifestyle, culture & society. They also explore various themes such as art, period drama, French culture, faith and dining out. Cunningham often includes expert commentary and focuses on industry-specific insights.
If you are looking to reach out to Vinson with a pitch or expertise in an area he covers, consider providing unique perspectives on the intersection of entertainment and cultural trends or offering insights into industry-specific developments related to his coverage areas. If your expertise aligns with any of the specific topics covered by Cunningham like scams, art or theater be sure to highlight that aspect in your outreach.
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The morning-show host recounted the disappearance of her mother, Nancy, and its aftermath in boldly religious terms, as millions of viewers watched.
By: Vinson Cunningham, Naomi Fry, Alexandra Schwartz
Depictions of the suburbs have long been a mirror for the nation's discontents. What do they reveal today?
Two releases about troubled couples meet a broader cultural moment of questioning what the institution is good for—and what new arrangements might replace it.
Bieberchella, as it’s been called, touched on the different cycles of Justin Bieber’s life, leaving audiences with one glaring question: What’s next?
On the first Saturday of Coachella, Justin Bieber started his concert by looking down at a camera on the floor of the stage. If you were watching the show at home, on a laptop or a TV screen, via Coachella’s live stream on YouTube, he was, for a moment, looking you dead in the eye.
“Project Hail Mary” and Lena Dunham’s memoir “Famesick” are part of a new wave of art works that boldly embrace sincerity over cynicism. Why are we suddenly so eager to wear our hearts on our sleeves?
The bio-pic places the so-called King of Pop back at the center of the culture, putting a fresh coat of varnish on the star’s troubled legacy.
A new slate of cultural offerings presents divergent ideas about the struggles men and boys face today—and how to resolve them.
For the first time since 1999, the New York Knicks are eagerly awaiting the N.B.A. Finals. Vinson Cunningham appreciates the artfulness of the game, but “when the Knicks are on, playing prettily or not, I am a foulmouthed partisan,” he writes.
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