Orson Welles’s final film, newly completed after four decades in limbo, is a fascinating paradox: a deeply personal but radically collaborative project, which speaks as much to our time as to his.

A new documentary from an 88-year-old master casts an empathetic spotlight on small-town America, and the institutions that sustain its communal life.

A new biography of Eric Clapton tells a quintessential ’60s story—and a didactic tale of how suffering can lead to redemption.

A new book on immigration claims to offer an economic argument against open borders. Instead, it offers a cultural argument against modern liberalism.

A new book on the future of work offers some insightful reporting, but is crippled by a strong case of confirmation bias.

A new book offers a revealing look into how social media has been “weaponized” by nefarious actors—even if it doesn’t show how the genie can be put back into the bottle.

Two quirky comedies about death translate the gloom of French existentialism to the cheerier realm of American television.

Christopher Andrew’s The Secret World shows us how the intelligence business is consistently underrated by politicians, military leaders, and historians.

In his new book, ex-central banker Paul Tucker explores the legitimacy crisis of the regulatory state—and argues that with great unelected power comes great democratic responsibility.

A new book argues that our technocratic elite have succumbed to a “new faith” that promises worldly utopia but instead perpetuates injustice. Perhaps they might take lessons from an older one.