Tarpley Hitt

A history of social media from the perspective of the poster, Taylor Lorenz’s Extremely Online examines the roots and rise of our sponsorship-saturated ecosystem.

A new book about Ray Dalio, the founder of Bridgewater Associates, paints an unflattering picture—but it’s hard to imagine a record more damning than the one Dalio has created himself.

The duo's onscreen sparring, far from being a sideshow, foregrounded the inextricably personal nature of reviewing.

The Kinfolk Foundation tests the rollout of its new, more diverse city “monuments”—which are only viewable digitally, like a game of Pokémon Go, but woke.

NASA is bringing back its groovy, curvilinear logo from 1975, the one beloved by graphic designers—and by Ariana Grande, Walter Cronkite, and BTS.

In his new book, “Marr’s Guitars,” the co-founder of the Smiths describes how each of his hundred and thirty-two instruments turned his daydreams into sound.

As our faith in the future plummets and the present blends with the past, we doomscroll and catastrophize and feel certain that we've reached the point where history has fallen apart.

Letters respond to Yiyun Li’s essay on gardening, Dorothy Wickenden’s piece about lighthouse keepers, and Dan Kaufman’s article about the U.A.W. strike.

Short reviews of recent releases.

On her new album, “Heaven Knows,” the Gen Z songstress displays a yearning quality that’s surprisingly difficult to locate in today’s splintered, chaotic pop world.