Just as the Assange saga consumes too much of Alex Gibney’s film, so today’s Snowden obsession deflects attention away from our sprawling surveillance state.

How did a journalist whose career was devoted to exposing injustice end up writing a film like Zero Dark Thirty?

A new history of the party is too close to its subject, and misses the human drama.

In her printmaking the artist searched for a constantly elusive vision.

Why does Benn Steil’s history of Bretton Woods distort the ideas of Harry Dexter White?

The cameras no longer look at us because we’re famous; we’re famous because they look at us to death.

David Graeber’s account of Occupy Wall Street is essential—and somewhat maddening in its insistence on heightening the differences between anarchists and liberals.

Why is Léon Krier defending anew the work of the Third Reich’s master builder?