A collection of 44 posts
Bingen is right about one thing, though: Easy Rider really is an important movie—much more important than a simple measure of its quality would suggest—which is probably why the American Film Institute, among others, continues to rate it so highly.
He cannot help being true to himself. In this calm, blithe, and objective memoir, Allen emerges, at wild odds with his comedic persona, as a very tough, independent artist, a passionate lover of women, avowing his innocence of the one and only charge ever leveled against him in 84 years.
Chinatown is a remarkable blend of screenwriter Robert Towne and director Roman Polanski’s antipodal sensibilities.
Books like 10% Less Democracy help us consider what republican solutions might look like today.
Full Surrogacy Now makes a feminist argument for, as the author puts it, “abolishing the family” by no longer attaching any importance to biological relationships between people.
Against Democracy is an interesting and engaging read.
This is a dimension where knowledge of the world—that same prior knowledge that needs activating—is the last thing that it would occur to anyone to actually teach children in schools.
Walt is always thinking of ways to blame the most vexing international problems on liberal hegemony. From proliferation to terrorism to Trump, he sees its malignant influence everywhere he looks.
It is reasonably entertaining to read, and does make some valid points about the misuse of “race science.” Unfortunately, it is also tendentious, dogmatic, and seriously misleading about the current state of scientific knowledge.
Machiavelli focused his analysis of power not on ideals, but on the feasible. In affairs of state, virtue was a matter of efficacy, not piety.
While Hanson is good in setting out the causes of Trump’s victory, he falls short when it comes to making recommendations for the future.
Faludy’s greatest weapon—what really allows him to swat away the mosquitoes of passing ideologies—is his delight in sensual pleasures.
Brooks blames America’s bitter politics on the “outrage industrial complex”: the media, politicians and commentators who entice voters, attract television viewers, and sell books and event tickets premised on hatred of the other side.
Houellebecq depicts a Europe where French culture is a bad joke.
When a public figure makes a mistake there seems to be a much stronger, more intense and quicker backlash.