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.

Paolo Sorrentino’s “The Hand of God” is a coming-of-age movie set during a legendary chapter in soccer history.

A trip to the New York Historical Society’s exhibition of the legendary biographer’s archive with CUNY journalism graduate students

The best reason to listen to Johnny Cash is his music, not his political opinions.

Hernan Cortes, Captain Cook, and Prince Philip were each worshiped as deities—with very different consequences.

Paul Thomas Anderson’s latest movie makes the 1970s dreamy but lacks the edge of his earlier films.

Sheryll Cashin’s “White Space, Black Hood” shows how economic discrimination combines with racial injustice in America’s housing policy.

Monica Black’s new book, “A Demon-Haunted Land,” tells of the faith healers who prospered in post-war Germany.

Human Events once shaped Republican policies. Now it’s pure Trumpism.

When you can turn it into a game show, a term has lost all political meaning.

In “Inseparable,” Beauvoir revisited an intense relationship from childhood. Why did she decide not to publish it?

In his posthumously-published biography of the artist, Alex Danchev unearths the gleeful child behind the highbrow works.

In his lifetime, Robert Welch toiled in the mocked and marginal fringe. Today his ideas are the mainstream of the American right.

Why has a relatively conventional history of the War of Independence drawn such an outraged response?

Forty years ago, on the barricades for radical feminism, I set out to “prove” she was overrated.

The final installment in John Richardson’s mammoth biography reveals the artist’s fiendish control over his admirers.

Lazy assumptions about young and old cloud our politics.

Joanna Hogg’s film treat a young artist’s coming of age with disarming seriousness.