War Movies: What Are They Good For?

Critics at Large | The New Yorker

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Biscuits & Jam

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Encore: Jessica B. Harris Believes in a Welcome Table 42:14

16 days ago42:14

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Episode Description: Jessica B. Harris may have been born and raised in New York City, but she has Tennessee roots through her father and has spent much of her life split between homes in the Northeast and the South – specifically New Orleans. For more than fifty years, she has been a college professor, a writer, and a lecturer, and her many books have earned her a reputation as an authority on food of the African Diaspora, as well as a lifetime achievement award from the James Beard Foundation. A few years back, Netflix adapted her book, High on the Hog: A Culinary Journey from Africa to America , into a 4 part docuseries. And I’m very proud to say that she’s a longtime contributor to Southern Living with a regular column called The Welcome Table. This episode was recorded in the Southern Living Birmingham studios, and Sid and Jessica talked about her mother’s signature mac and cheese, the cast-iron skillet she’d be sure to save if ever her house were on fire, and her dear friend, the late New Orleans chef Leah Chase. For more info visit: southernliving.com/biscuitsandjam Biscuits & Jam is produced by : Sid Evans - Editor-in-Chief, Southern Living Krissy Tiglias - GM, Southern Living Lottie Leymarie - Executive Producer Michael Onufrak - Audio Engineer/Producer Jeremiah McVay - Producer Learn more about your ad choices. Visit podcastchoices.com/adchoices…

about a year ago 45:55

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For nearly as long as we’ve been waging war, we’ve sought ways to chronicle it. “Warfare,” a new movie co-directed by the filmmaker Alex Garland and the former Navy SEAL Ray Mendoza, takes an unorthodox approach, recreating a disastrous real-life mission in Iraq according to Mendoza’s own memories and those of the soldiers who fought alongside him. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss how “Warfare” ’s visceral account brings us closer to a certain kind of truth, while also creating a space into which viewers can project their own ideologies. The hosts consider how artists have historically portrayed conflict and its aftermath—referencing Virginia Woolf’s depiction of a shell-shocked soldier in “Mrs. Dalloway” and Vietnam-era classics such as “Apocalypse Now” and “Full Metal Jacket”—and how “Warfare,” with its emphasis on firsthand experience, marks a departure from much of what came before. “That personal tinge to me seems to be characteristic of the age,” Cunningham says. “Part of the emotional appeal is, This happened, and I’m telling you. It’s not diaristic—but it is testimonial.”

Read, watch, and listen with the critics:

“Warfare” (2025)
“Apocalypse Now” (1979)
“Full Metal Jacket” (1987)
“Beau Travail” (1999)
“Saving Private Ryan” (1998)
“The Hurt Locker” (2008)
“Zero Dark Thirty” (2012)
“Barry” (2018–23)
“Mrs. Dalloway,” by Virginia Woolf
“In Flanders Fields,” by John McCrae

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