Vinson Cunningham is a staff writer and theatre critic at The New Yorker. He focuses on themes related to theatre, television, and culture, and has received recognition for his work, including being a finalist for the Pulitzer Prize for criticism in 2024. Vinson is featured in The New Yorker, NewsBreak, Magzter, Realclearpolitics, LLC, and The New York Times.
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New York, United States (Local)
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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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A recording from David Remnick's live video
By: Louisa Thomas, David Remnick, Vinson Cunningham
A recording from David Remnick's live video
By: David Remnick, Louisa Thomas, Vinson Cunningham
On the Spurs suddenly going cold in the second half, the Knicks erasing a twenty-nine-point deficit, and the miracle of OG Anunoby.
A joyous parade up the Canyon of Heroes proved a fitting celebration.
The director Christopher Nolan has been accused of “woke-ifying” Homer’s epic. But finding new resonance in ancient texts is part of the art of translation itself.
A new game show features celebrities competing for the title of “Nation’s Dumbest.” How did stupidity become a badge of honor?
By: Naomi Fry, Vinson Cunningham, Alexandra Schwartz
The 1997 album marked a crossroads for hip-hop, as the genre was being torn between elaborate mythmaking and a kind of true crime.
With his new album “Iceman,” the master of the summer banger is not done airing his grievances.
With “It Ends,” Alex Ullom takes his place in a cohort of young horror directors who are translating the anxieties of their generation to the big screen—and upending the film landscape while they’re at it.
The New Yorker's critics take stock of the star's life and legacy.
