Non-binary thinking offers new routes for adapting to life with COVID-19.
Timothy Sheard's murder mystery One Foot in the Grave explores pandemic in a hospital from the point of view of the lowliest, aka "essential", staff.
Justin Pemberton's film version of Thomas Piketty's landmark book on the dangers of today's yawning income inequality, Capital in the 21st Century, is more TED Talk than documentary, but it's a handy summary nonetheless.
Author Caleb Carr's The Alienist explores the 19th century psychiatric debate between free will and determinism. TNT's nearly identical adaptation of the novel, however, comes up with a completely different conclusion.
Canadian Americana artist Lynne Hanson tells her tale of the Coronavirus Blues, one of canceled tour dates and diminished revenue prospects.
Mark Jenkin's haunting Bait exhibits a ghostliness that complements the film's transient landscape of seasonal capital and short-term holiday lets.
Gloria Bell painfully conveys that this economic system thrives on our isolation.
In a brave new world dominated by platforms such as Facebook, Uber, and Airbnb, and marked by anxiety in the Age of the Anthropocene, McKenzie Wark's Capital Is Dead eschews digital utopianism for a sense of urgency that recognizes things have gotten serious.
Award-winning lawyer Ben Crump's Open Season irrefutably documents how America's treatment of Black Americans and other minorities is indistinguishable from genocide.
Harry Harootunian's essays on modern Japanese history, collected in Uneven Moments from Columbia University Press, reflect a lifetime of intellectual contributions and span a wide range of topics in Japanese history. The tension between the historical and the everyday is a recurrent and vital theme in his work.
In The Man Without Talent, Tadao Tsuge captures the element of fantasy reflected in the childish utopianism of free market capitalism and the committed entrepreneurs who are its happy-go-lucky evangelists.
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