For me—as for the good people at the Oscars—Parasite was far and away the best film of 2019. Critics, however, are eagerly denouncing it as a failure, a capitulation, a “conservative” film, indeed a movie full of “contempt” for the working class. What is going on?
Parasite, the new critically-acclaimed film by the South Korean director Bong Joon-ho, challenges audiences to probe social parasitism amidst growing inequality in a largely affluent country. Who exactly are the parasites? And what makes them parasites?
Is the market the key to freedom and prosperity? Don’t markets necessarily lead to economic inequality? Is it possible to make markets work better for everyone? This week we’re exploring Radical-market Solutions for Our New Gilded Age.
Why on earth would anybody want to get rid of the word “racism”? It seems like a perfectly fine word. In fact, it seems like a morally valuable word. If racism is a morally bad thing, then having the language to address it—to track it, analyze it, condemn it, and call it out—must be a good thing, right?
What makes a friend? Cézanne et Moi is the story of the friendship between Émile Zola and Paul Cézanne. It is also a complex commentary on friendship itself: what friends owe each other, what friends should do for each other, and what breaks the bonds of friendship.