Luke Holland’s film “Final Account” makes a study of evasion, denial, and self-justification among living participants in Hitler’s Third Reich.

A new show pairing the work of Eva Hesse and Hannah Wilke ends up stressing the differences between these groundbreaking artists.

The deal between AT&T, Time Warner, and Discovery is just the latest shift toward consolidation as media companies fight hopelessly for market supremacy.

Tensions boiled over at a town hall meeting with CEO Jonathan Karp about the company’s decision to publish former Trump officials.

On the aesthetic legacy of HIV/AIDS activism in our own time of viral panic.

A new biography captures a poet’s commitments, reversals, and reinventions.

Ernest Hemingway’s one enduring character? Ernest Hemingway.

Republicans are already advancing a distinct—if ugly and tasteless—aesthetic. Biden should follow in FDR’s footsteps and create a Public Works Administration for the twenty-first century.

The heroes of Michael Lewis’s new book, “The Premonition,” are a band of intrepid policy entrepreneurs.

What happens when online investigators and detectives-for-hire take on intelligence work?

What the host of “For Real: The Story of Reality TV” is really selling

We knew David Horowitz when he was a radical leftist. Then he became a conservative. Then he joined the MAGA cult.

The senator’s new book is a case study in why conservatives struggle to be populists.

It turns out that soccer’s pundit class doesn’t really want to hear from the fans, even after the Super League debacle.

A series of controversies has called the industry’s supposed values into question.

On the short and momentous life of Milman Parry

“Rutherford Falls” could have been a great show—except for one small problem.

In the Biden era, the Reaganite consensus is finally breaking down.

Her new novel, “Peaces,” asks how much room we are willing to make for other people.