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brady brickner-wood @braydbay

writer for @newyorker @nytmag and elsewhere. writing a novel

Joined October 2016
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brady brickner-wood@braydbay
2 Dec 2025
i wrote about reading newyorker.com/culture/the-le…

The Curious Notoriety of “Performative Reading”

Is the term a new way of calling people pretentious, or does it reflect a deprioritization of the written word?

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reviewed zay pitchfork.com/reviews/albums…

Isaiah Rashad: IT’S BEEN AWFUL

Read Brady Brickner-Wood’s review of the album.

pitchfork.com
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brady brickner-wood retweeted
The New Yorker
@NewYorker
Apr 30
In our violent times, creating memes out of tragedy and bigotry might let people process otherwise unfathomable situations. Enter “Kirkslop.” newyorker.com/culture/infini…

The Kirkification of Our Troubled Times

In times of immense division, people are metabolizing violence through memes—pushing the A.I.-slop frontier from Charlie Kirk’s assassination to the ongoing wars in the Middle East.

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i am somehow now also charlie kirk newyorker.com/culture/infini…

The Kirkification of Our Troubled Times

In times of immense division, people are metabolizing violence through memes—pushing the A.I.-slop frontier from Charlie Kirk’s assassination to the ongoing wars in the Middle East.

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on epstein and fuentes and conspiracy — for NYT MAG nytimes.com/2026/03/25/magaz…

The Epstein Scandal Has Reached the Far-Right Meme Stage

Once the Epstein files transitioned from an abstract concept to a real-world event, it became more difficult for fringe conspiracy theorists to control the story.

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thank you to @elenasb_ best editor in the game
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brady brickner-wood retweeted
BREVIN KIM@BrevinKim
Feb 5
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the grammys???????? newyorker.com/culture/the-le…

How Bad Bunny Saved the Grammys

At a ceremony that got things uncharacteristically right, the Puerto Rican superstar claimed the top prize and criticized Trump’s deployment of ICE.

newyorker.com
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in which i consider the press tour newyorker.com/culture/infini…

Why Albums Drop and Movies Launch

The ephemeral nature of contemporary music consumption has made it much harder to elevate an album—even a very good one—into the category of an event.

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my latest for the new yorker
The New Yorker
@NewYorker
Jan 15
As more of our lives are funnelled into screens, the inescapability of porn has become perhaps the most undertheorized area of social upheaval in contemporary life, Brady Brickner-Wood writes. newyorker.com/culture/infini…
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this month i'll be filling in for @chaykak and writing the New Yorker's Infinite Scroll column — here's my first one, about all the pathetic dumb ICE ads newyorker.com/culture/infini…

ICE’s New-Age Propaganda

With its string of “wartime recruitment” ads, often featuring pop songs and familiar meme formats, the agency has weaponized social media against itself.

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brady brickner-wood retweeted
pxt@paulxt
8 Dec 2025
This fall I spent some time with Dijon, who’s had one of the strangest, most rewarding years an artist could hope to have today. That profile is out now as Pitchfork’s cover story, and will be issued as a standalone zine
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I wrote about the Luka trade, the "Fire Nico" movement," and the mystical properties of sports fandom for the New Yorker
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Time Runs Out on Nico Harrison and the Dallas Mavericks

The infamous N.B.A. executive once said that “time will tell” on the trade that sent the superstar Luka Dončić to the Los Angeles Lakers. Not even a year later, he’s out of a job.

newyorker.com
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for the New Yorker—wrote about Chance the Rapper's comeback album
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newyorker.com/culture/pop-mu…

The Redemption of Chance the Rapper

His new album, “Star Line,” has the difficult task of reacquainting the world with the artist after several tumultuous years.

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for the new yorker, i wrote about what's already AOTY: dijon's BABY
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The Fiery Mania of Dijon’s “Baby”

The album’s frantic, unruly nature aims to communicate the madness of living with big feelings—emotions that are difficult to process and to hold to the light.

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today, at the new yorker, my essay on adam friedland:
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Adam Friedland’s Comedy of Discomforts

His rendition of the talk show is innately subversive, at direct odds with the squeaky-clean, white-bread humor that is typical of its cable counterpart.

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