The Concert for New York City (2001) captures the star-studded benefit held at Madison Square Garden on October 20, 2001, honoring the city’s resilience and the heroism of first responders after 9/11. Attended by thousands of firefighters, police officers, and rescue workers, the concert features performances by Paul McCartney, The Who, Elton John, Billy Joel, and other music legends in a powerful tribute to unity, courage, and recovery.

Kim Cattrall narrates this documentary taking a look at the people, places and events that make up The Big Apple.

A series of reflections on New York City by key figures of its prominent art scene. The City is considered in light of the history, influence and audience of its art scene and the relationship the artists have with the city. With the participation of Ross Bleckner, Ann Craven, Peter Halley, Donald Sultan, Ryan McGinness, Jacob Hashimoto, Tony Oursler and Eric Freeman.

A series of standalone documentaries powered by the unparalleled journalism and insight of The New York Times, bringing viewers close to the essential stories of our time.

The year was 1981: A president and a pope survived assassins, gas cost about a buck-thirty and “Don’t Stop Believin'” was Top 10. And a phenomenon was sweeping the NFL. The Jets’ front four of Mark Gastineau, Joe Klecko, Marty Lyons and Abdul Salaam — all of whom the team drafted during the 1970s — led the league with 66 quarterback sacks and became stars.

An unprecedented look at the FBI's New York field office.

An unprecedented look at the FBI's New York field office.

Barney and his friends take the stage to delight and entertain everyone at Radio City Music Hall. They all work together to make a special surprise for the audience using items from "The Barney Bag". But before they are able to share it, a new visitor, The Winkster, sneaks away with the bag.

Quinn dissects the infamous New York character, variously describing them as rude, opinionated, pushy, loud, fast-talking, sarcastic, wise-assed, abrupt, rude-polite, and above all, politically incorrect. That last one’s not a surprise coming from Quinn, long a purveyor of the “everyone’s too sensitive” school of “tell it like it is” comedy. Fortunately, his curmudgeonliness is more good-natured than some of the more toxic practitioners of the form. Quinn’s grousing is more an affectionately exasperated head tilt than the full-on assaults that other comics launch against “PC culture”—sneering attacks at the likes of feminists, civil rights activists, and basically anyone who

Quinn dissects the infamous New York character, variously describing them as rude, opinionated, pushy, loud, fast-talking, sarcastic, wise-assed, abrupt, rude-polite, and above all, politically incorrect. That last one’s not a surprise coming from Quinn, long a purveyor of the “everyone’s too sensitive” school of “tell it like it is” comedy. Fortunately, his curmudgeonliness is more good-natured than some of the more toxic practitioners of the form. Quinn’s grousing is more an affectionately exasperated head tilt than the full-on assaults that other comics launch against “PC culture”—sneering attacks at the likes of feminists, civil rights activists, and basically anyone who