A conversation with Adam Nayman about the filmmaker’s style and obsessions

Denzel Washington and Frances McDormand star as grown-up versions of the Macbeths, with dangerous ambitions and onerous responsibilities.

After disasters in 2018 and 2019, Boeing faced intense public pressure. Then the pandemic hit.

What turned Smedley Butler into a critic of American foreign policy?

Two new movies address the impossible, ordinary, maddening task of keeping both yourself and a child alive.

Why do the Transcendentalists still have an outsize influence on American culture?

Junior staffers at Penguin Random House scoff at the idea that one of their own was powerful enough to derail a new collection of the author’s work.

Mark Bowden and Matthew Teague’s book shows how scattershot January 6 was—and why a repeat could be harder to stop.

Here are the stories our editors and readers alike loved this year.

In Marlowe Granados’s “Happy Hour” and Christine Smallwood’s “The Life of the Mind,” upward mobility is elusive.

The author of “Crime and Punishment” had a love-hate relationship with the true-crime obsessions of his era.

Few writers examined their own assumptions and misapprehensions as intelligently as Didion.

Pedro Almodovar’s new movie with Penelope Cruz is his most explicitly political.

The latest movie in the series, “Resurrections,” explores the indignities and triumphs of middle age.

Biographers get distracted by the photographer’s unusual life story—to the point of diminishing her work itself.

Readers have long bickered over what actually ails Dickens’s famous Christmas tyke, but there’s no argument about how we can help children like him.

Who Peter Thiel is does not really matter. What matters about him is whom he connects.

The new film is set in a now-bulldozed Black neighborhood, so why is it all about whites and Puerto Ricans? Because it really takes place—bear with me—in Los Angeles.

A sweeping new history of American comics traces the rise of characters caught in a Manichaean struggle between good and evil.

Edith Schloss’s memoir recalls a world of spacious, postindustrial studios filled with even bigger ideas about how to reform modern art.