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alt="Oppenheimer and Barbie" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 SplScreenContentHearGrid-kFpOdh fLkIyA"><div class="GridItem-buujkM kHPPIF grid--em"><div class="CaptnWrapper-jSZdqE iTuhkZ ptn SplScreenContentHearCaptn-iOfEOv ckLUKG"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Nolan’s film portrays the creatn of the atomic bomb; Gerwig’s follows Barbie and Ken to the real world.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Illtratn by Diego Mallo</span></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" 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data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="has-dropp has-dropp__lead-standard-headg">The new film om Christopher Nolan, “Oppenheimer,” starts and ends the round. In the openg shot, rippl expand puddl as radrops fall. Three hours later, we get a visn of Earth begng to burn, as nuclear explosns bloom across the globe. Nolan is always entranced by the vast and the ty; “Inceptn” (2010), where cy streets fold like paper unr the prsure of dreams, nclus wh a spng top. This obssn wh sle is well served by “Oppenheimer,” which the amassg of refed uranium, for the nstctn of an atomic bomb, is dited by marbl pilg up si a goldfish bowl. How much roundns n you take?</p><p class="paywall">The antidote to this circulary is J. Robert Oppenheimer. (Though named for his father, Juli, he sisted, wh Pockian nicety, that the “J” stood for nothg at all.) Lean, sticklike, skullish his gntns, and too clever for fort—his own or anyone else’s—he has gone down history as the director of the Los Alamos Laboratory, New Mexi, where the bomb was built, and is om history that Nolan seeks to pluck him. Oppenheimer is played by Cillian Murphy, who tch the quiet quietu of the man, and his tobac-softened speech. In the blaze of his blue ey we see not ndor but a kd of undimmed shock, as if he were starg straight through at matters visible to regular mortals. “What happens to stars when they die?” he says, by way of small talk, at a party Berkeley. There he meets the nscent Jean Tatlock (Florence Pugh); later, at her biddg, he translat a Sanskr text as they make love. For Oppenheimer, no talk is ever small.</p><p class="paywall">The film is adapted om “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Amerin Promeths: The Triumph and Tragedy of J. Robert Oppenheimer</a>,” a 2005 bgraphy by Kai Bird and Mart J. Sherw. I hate to say , but, if you zip through all six hundred pag of the book before seeg the film, you’ll enjoy the ri more. Much is omted the adaptatn; there is no whisper, for example, of the fact that Oppenheimer was born to ser wealth. Yet Nolan, who wrote the screenplay, has a fe taste for the lic tail. Durg a youthful sojourn the Netherlands, Oppenheimer don’t jt learn Dutch six weeks. He learns enough to give a lecture on quantum physics. The irony is that what mak the movie challengg is not the scientific theory—which is livered wh a diplomatilly light touch—but a glut of polil paranoia.</p><p class="paywall">Like “The Social Network” (2010), “Oppenheimer” is stctured around two quisns, each of which is signed to load wh rmatn and to trigger signifint flashbacks. If, the procs, we feel dumb and dumber, tough. The first is a closed hearg, 1954, at which Oppenheimer’s secury clearance is revoked—an afont om which he never revers. The revotn (which was not officially void until last year) turns upon his left-wg sympathi before the war, but has clearly been engeered by the F.B.I. and by certa figur who have Oppenheimer’s worst terts at heart. The send ocsn is a Senate hearg, 1959, that is held to nfirm the appotment of Lewis Strss (Robert Downey, Jr.) as Print Eisenhower’s Secretary of Commerce. And what do <em>that</em>, you may wonr, have to do wh blowg thgs up?</p><p class="paywall">The answer is far om simple, and the tangle left me genuely torn. The upsi is that Downey, liberated om the stranglehold of Marvel, provis the least mannered and the most nsely textured performance of his reer. Pole, bpectacled, and immune to panic, Strss—a chairman of the U.S. Atomic Energy Commissn— across, Downey’s renrg, as the most pils of Machiavels. The downsi is that he all but maners the film. Even Oppenheimer’s marriage to Kty (Ey Blunt), troubled but endurg, seems to fl by snatch when set bi the enmy of Strss, who believ that Oppenheimer has huiated him. Addicts of Cold War nspiracy will be bliss, but not everyone, I spect, will thrill to the tfflg up of former Communists Wt Coast amia. Folks want some bang for their buck.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">The bang is Try—the first tonatn of a nuclear vice, July, 1945. The name was chosen by Oppenheimer, tribute to a son by John Donne. (For the plete poem, listen to the agonized aria sung by Oppenheimer “Doctor Atomic,” John Adams’s 2005 opera.) The explosn, two hours to the film, reach to the pure re of Nolan’s visual tensy. For once, the midst of this talkative movie, the chatterg di down. Many observers, cludg Oppenheimer’s boss, General Llie R. Grov (Matt Damon), lie flat on the ground. One scientist, nontg the blast, wears sunscreen and shas, as if he were at the beach. All mic is fally hhed. The sole sound is human breathg, and out. The clock unts down; time stops; then the flowerg of fire.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">It’s a hell of a sequence, and, as you might expect, ’s fernally betiful to behold. Risg the wake of such imag is the issue of moral m: What n you, or should you, show? When slis of Hiroshima are projected at Los Alamos, some people look away, unable to untenance what their loyal efforts have wrought. Not a ame of this film is set Japan; Nolan reli on his leadg man to suffer the fallout spir. There are screen-fillg closps of Oppenheimer, who appears to be hntg himself. Now and then, the very space around him quivers rponse, as if his tremors of nscience were givg off shock wav. (“That crybaby,” Harry Tman says of him.) The granur is tremendo, and yet, this beg Nolan, needs to be surround wh the ltle thgs. When Grov is searchg for someone to oversee the creatn of the bomb, he walks to a classroom for his first meetg wh Oppenheimer and, to his face, lls him theatril, egotistil, and unstable. Oppenheimer s. He gets the job.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">What’s the difference between Greta Gerwig’s prev movie, “Ltle Women” (2019), and “Barbie,” her latt enterprise? Well, one is based on a <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">book</a> by Louisa May Altt, and the other on a well-thumbed classic toy by Mattel. (I won’t spoil thgs by sayg which is which.) Also, if memory serv, Jo, Beth, and the other girls didn’t spend <em>that</em> much time on fluorcent Rollerblas. Their loss.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Powerg the new film is the ia that there’s a magil place lled Barbie Land, which is home to all the Barbi, not least <em>the</em> Barbie (Margot Robbie), who is proud to scribe herself as “stereotypil.” She sleeps a heart-shaped bed, a hoe that li so brazenly open for spectn that J. Edgar Hoover would moan wh light. Beg a doll, Barbie kicks off her day wh a dry shower, has her breakfast whout nsumg , and floats down to ground level rather than takg the stairs. The domant, not to say overbearg, hue of her existence is pk. Watchg the first half hour of this movie is like beg waterboard wh Pepto-Bismol.</p><p class="paywall">Barbie has a male chum, Ken (Ryan Goslg), though he wish he were more than that. “We’re girliend-boyiend,” he tells her, nng the words together to a sgle un. Smooth. They n’t have sex, although a showg of “Team Ameri: World Police” (2004) might give them some handy tips. Still, they n party every night. All is well until Barbie starts havg thoughts of ath, whatever that may be; bewilred, she nsults Weird Barbie (Kate McKnon), who liv on a hill, do the spls, mak a se for beg “sad and mhy and plited,” and propos a trip to realy.</p><p class="paywall">What we have here, short, unr layers of stylizatn, is a standard-issue journey of disvery. Barbie, wh the unved yet eager Ken tow, follows the pk road like a shrimp-lored Dorothy, travellg not om Kansas to Oz but om Barbie Land to Los Angel. There she meets a teen-ager named Sasha (Ariana Greenblatt) and her mother, Gloria (Ameri Ferrera), one of whom is or was Barbie’s owner; if Barbie is feelg prsed or msed up, ’s bee of them. By a helpful cince, Gloria works at the headquarters of Mattel. “Barbie the real world—that’s impossible,” she says, summarizg the hook of the film and, cintally, echog the hero of “Oppenheimer,” when he learns that German scientists have spl the atom. “That’s impossible,” he says. (I was hopg that he’d shout out “Fissn: impossible!” but you n’t have everythg.)</p><p class="paywall">A further siary: jt as Downey threatens to pull Nolan’s film out of orb, so, “Barbie,” do Goslg attract a dangero share of the dramatic energy. His le readgs keep takg you by surprise; a late-night solo dance, outsi Barbie’s hoe, has a mournful shimmy; and he is the beneficiary of Gerwig’s most spired joke, which is that Ken, California, disvers—and totally digs—the patriarchy. “I’m jt gog to pop to the library and see if I n fd some books on tcks,” he says. He then spirs that leathery masculy back to Barbie Land, which he rechristens Kendom. He fights wh his fellow-Kens, plays guar not to but <em>at</em> Barbie, and (this has to be peak Goslg) ps mid-nversatn wh her to smirk at the bulge of his own biceps.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="3wl9xj"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="dikhsq"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">All of which is tricky for the balance of the story, but, then, the entire movie, like Barbie when she dch her high heels, stggl to fd s footg. The membrane between the two arenas, the te and the fantastil, grows so poro as to be meangls; not only are Gloria and Sasha imported to Barbie Land but so is the angry C.E.O. of Mattel (Will Ferrell), pl a gang of his rporate henchmen. “Barbie” is, every sense, all over the place. Bee ’s “A Mattel Productn,” as the openg creds rm , wants to have s ke, eat , mock , smear on the fac of the manufacturers, and still sell a shload of dolls—or, as a recent piece the <em>Tim</em> suggted, “drive near-fe brand synergi,” the sort of phrase that mak me want to move to Bhutan and raise goats.</p><p class="paywall">“Barbie” is fun, no qutn, yet the fun is agmented. You e away wh a head full of bs: terptns that are sprkled over the plot like glter. Mopg Barbi tend to watch the BBC’s “Pri and Prejudice” for the seventh time, we hear, wherpon the screen fills wh a clip of Col Firth as Mr. Darcy. Wackier still is a scene which Barbie plas of no longer beg pretty; a voice-over (Helen Mirren) butts to pot out that hirg Margot Robbie to play unpretty is poor stg. This earned a lgh when I saw the movie, but you have to ask: Who’s for? Will young girls return to the film aga and aga, as they did to “Frozen” (2013)? If so, what will they make of the dialogue, wh s mentns of “sexualized palism,” “rampant nsumerism,” and “gnive dissonance”? How will they react when Sasha addrs Barbie as “you fascist”?</p><p class="paywall">Maybe the movie is for Greta Gerwig. And, by extensn, for anyone as super-smart as her—former Barbiephil, preferably, who have wised up and put away childish thgs. Nobody else would even attempt to meld a femist lloquium wh a plug for a chunk of plastic, and, if the rult is a ep disappotment after “Ltle Women,” perhaps pth is the wrong thg to ask for. Thk of the kid Charl Blaire’s say “The Philosophy of Toys,” who shak and bangs a toy exasperatn, before fally prizg open. “<em>But where is s soul?</em> ” Blaire says, addg, “This moment marks the begngs of stupor and melancholy.” Sometim the shy surface is enough. Or, as Barbie’s be would say, Kenough. ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="js8e29"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div 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class="RubricName-fVtemz cLxcNi">Cultural Comment</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">Stagg Nuclear Dread “Oppenheimer” and “Doctor Atomic”</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">How do you pict an event that has left a psychologil sr— some s, physil srs—on almost everyone on the pla?</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Alex Ross</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Extravagant Treats of “Missn: Impossible&-Dead Reckong Part One”" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Current Cema</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">The Extravagant Treats of “Missn: Impossible—Dead Reckong Part One”</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">In the seri’ seventh film, Tom Cise returns to perform stunts of outsized magnificence.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Anthony Lane</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Indiana Jon and the Losg Battle Agast Mortaly" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Current Cema</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">Indiana Jon and the Losg Battle Agast Mortaly</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">Flashbacks “Indiana Jon and the Dial of Dty” rell the early days of the anchise, g Harrison Ford’s digally rejuvenated face to movg effect.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Anthony Lane</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture 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Robert Oppenheimer" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The New Yorker Rad Hour</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">The Life of J. 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