In Automation and the Future of Work, Aaron Benanav uncovers the structural economic trends that will shape our working lives far into the future. In this excerpt, courtesy of Verso Books, he considers what's on our minds these days, "What if everyone suddenly had access to enough healthcare, education, and welfare to reach their full potential?"
Pier Paolo Pasolini's classic drama, Teorema, grapples with the parable -- the manner of knowing that which always remains just beyond our grasp.
In her excellent film, First Cow, Kelly Reichardt explores the effects of colonial land theft and capitalism through the medium of food.
No one living in America today can escape the blast radius of the questions raised in Wendy A. Woloson's Crap.
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.
Eliese Colette Goldbach's memoir, Rust: A Memoir of Steel and Grit, is the story of one descending into the depths of The American Dream and emerging with flecks of graphite dust on her cheeks, a master's degree in her hands, and a few new friends.
In one sense, life in the time of Coronavirus clarifies an essential element of love: love always occurs at an ontological distance.
What happens when the disposable realize they are disposable?
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.
In a society of things, social responsibility requires a recognition of the influence of commodities upon our most foundational spiritual experiences. Nickelodeon's animated series, Rocko's Modern Life, puts it simply.
If neon was an icon of mid-century capitalism as Luis de Miranda puts forth in Being and Neonness, what does it represent in our period of late capitalism?
I've sworn, after learning about the latest kleptocrat billionaire to buy a club, or scrambling from the clash between hooligans and riot police, or hearing a homophobic chant rise up from the stands, I would give up on the game. Anyone with sense would.
When order ruptures it leads to a state of crisis manifest in many ways, as we see emerging throughout the world. What can we do?
Socialists need to do better in fighting against identity-based discrimination, as editor of Jacobin Bhaskar Sunkara notes in The Socialist Manifesto, but that struggle will only be effective if waged as part of a larger struggle against neoliberal capitalism.
With Aquinas and the Market, economist and theologian Mary L. Hirschfeld begins a necessary conversation between economic and theological sectors, in the academy and, one hopes, outside the ivory towers and seminaries, to calculate our ultimate worth.
Lino Brocka's Manila in the Claws of Light seethes with rage against colonial oppression without ever becoming overt agitprop.
Diamantino's astounding surrealistic introduction soon unfolds into an ethereal genre-mashup.
Yanis Varoufakis treats with disdain the idea that economics is a real science – it's more like a contemporary form of religion, propped up by ruling elites to make gullible everyday people remain subservient and go along with the elites' bad and self-serving ideas, he says.
'Creativity' in today's corporate speak requires a familiarity with the popular culture that's admired by the white and the well-to-do. It has nothing to do with actual creativity.
Flamboyance and bombast prove to be Generation Wealth's most common thread, which serves as an upsetting indictment of the American Way.
In a competitive sea of superhero films, Logan continues to stand out with its tremendous performances, thematic complexity, remarkably critical take on violence, and deeply stirring pathos.
Beyond utility and good looks, perhaps the most essential feature of streetwear is that it always says something. It's in this area of ideology that King ADZ and Wilma Stone excel.
The isolation of Blade Runner 2049's inhabitants continually reinforces and enlivens their deep need for genuine connection, communal relationships, which the divisive effects of global capitalism actively undermines.
A passionate first-hand account from two Italian writers depicts the ravages of neoliberal capitalism in poignant, poetic prose.
The significance of Umberto Eco's work as collected here is found not in his astonishing foresight but in his reasoning.
Loo Hui Phang emphasizes the nature of image-making from the first panel: an upside landscape as viewed through the inverting lens of the protagonist's camera.
Yet another form of inequality has emerged, and solutions are evasive. But to solve a problem one must first define it. To this end, with Capitalism Without Capital, Haskel and Westlake have begun a necessary conversation.
Algorithms of Oppression addresses the growing concern about the consequences of commercial control over information and the harm it does to communities.
Our food system is working exactly as it should under capitalism.That's the problem. An interview with Food First Director Eric Holt-Gimenez.
The new social satire from normally reliable director Alexander Payne is a well-meaning premise in search of a story.
Being the size of a dog's chew toy might not be to everybody's taste, but it's certainly a shortcut to a kind of upper middle-class luxury unobtainable for most of humanity.
Sujatha Gidla's memoir is an example of history as told from down below, by the people who were involved in the labour and caste protests and the women who did the reproductive labour for the revolutionaries.
Though the word "innovative" is spoken only once in The Founder, this plot point is just one example of how the film deftly skewers the hollow nature of American Innovation, a meretricious form of late capitalist creativity that currently exerts outsized influence on American society.
Peter Fleming's new book Homo Economicus attempts to lay zombie capitalism to rest.
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