He ended his HBO docuseries and made a movie about the terrors of concrete. Then a building in NYC started to collapse.
 

AUGUST 12, 2026

 

ENCOUNTER

John Wilson Can’t Fake This He ended his HBO docuseries and made a movie about the terrors of concrete. Then a building in NYC started to collapse.

By Fran Hoepfner

Photo: Daniel Arnold for New York Magazine

When I heard a building might fall down in Manhattan, I thought not of the safety and security of me and those around me, but of John Wilson. I think of him often while navigating the disintegrating neighborhoods of New York, particularly when walking under scaffolding. He dedicates an entire episode of his HBO series How To With John Wilson to the overhead structures that pop up over sidewalks during construction and sometimes never come down. It’s one of 18 half-hour mini-documentaries that make up his show, most fixating on a single issue uniquely familiar to New Yorkers: alternate-side parking, public restrooms, real estate.

How To premiered in 2020, and over the course of three seasons, Wilson matched endless B-roll footage (much of it taken near his home in Ridgewood, Queens) with skittish, memoiristic narration and interviews with characters he finds on the street or in online forums. Together, they formed an odd yet deeply funny and ultimately uplifting time capsule of the years leading up to, during, and after the COVID-19 pandemic. What buoyed it all was Wilson’s sincere obsession with the false permanence of NYC and its residents’ collective tendency to take for granted the parts of it they assume are fixed.

Wilson’s newest project, the 100-minute documentary The History of Concrete, plays like an extended episode of How To. 

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The Critics, In Short

Roxana Hadadi on Our Hero, Balthazar

Frances Ha and Uncut Gems producer Oscar Boyson makes his directorial debut with an extremely dark comedy about a rich NYC high-schooler Balthazar (Jaeden Martell) who, while faking a weeping reaction to a mass shooting, gets mocked by an online bully, Solomon (Asa Butterfield). To impress a classmate, Balthazar travels to Texas to forgive and befriend the working-class Solomon; the result is a Thoroughbreds-style two-hander and a fever dream of toxic masculinity, gun culture, media complicity, and Internet brain rot. It’s a stomach-churningly effective indictment of our era of narcissism.

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