Eric Wen

All articles by this author

Episode 29: Slow Wars

Episode 29: Slow Wars

On this episode of the n+1 podcast, Moira Weigel joins us to talk about her essay “Slow Wars” about the slow cinema movement in foreign art films, the impact changes in filmmaking and film viewing technology have on the art form, and the nebulous terms of debate in slow cinema’s film criticism.

Episode 28: The Selfishness of Others

Episode 28: The Selfishness of Others

Does your brother entertain you with witty anecdotes? Does he tell you stories about his day? Does he ask you questions about your own life? Is he contributing anything to this ride situation at all? Or is he sort of sitting there, like some kind of prince who expects to be driven around?

Episode 26: Uncanny Valley

Anna Wiener speaks with editor Dayna Tortorici about her essay “Uncanny Valley,” a fictionalized account of her time working in the Silicon Valley tech industry. Anna and Dayna discuss the background of the story and how this became one of the magazine’s most popular pieces.

Episode 24: At the Movies

Episode 24: At the Movies

Most film critics that write today regularly are essentially publicists for Hollywood films. Their criticism is intermingled with this form of entertainment journalism that really has nothing to do with criticism. So a lot of times when you read a film review now, in addition to getting a lot of plot description—which I don’t think is really necessary in film criticism anymore, because everybody knows everything about films before they come out now because of the internet—you get a lot of histories of the people who are in the films or made the films.

Episode 23: Inherited Disorders

Episode 23: Inherited Disorders

“It started as a normal novel about fathers and sons, one of those, so I always knew I wanted to write about fathers and sons. And I thought I could do it in a realist way, tracking a father and a son through a relationship or whatever, and I was completely unable to do that. There were two or three years where essentially, everyday, I would start from scratch. I liked the starting out, I liked having a father and a son in some weird situation, and then I would sort of try to maneuver them in a realist way, and it would fall apart and collapse. After a couple of years of this and feeling crazy, probably under the influence of some other books that had somewhat similar forms, I realized I could just sort of take each of the beginnings and turn them into their own mini story and have the relationship kind of come out of the way the stories interacted with each other.”