There’s little evidence slouching is unhealthy. So why do Americans believe so firmly in sitting up straight?

“Trap” is an escape-from-the-room thriller as well as a touching exploration of a father-daughter bond.

In 2024, the U.S. faces some of the same challenges in the region that it did in 1954.

Fury not only drives the embittered wife at the heart of “Liars,” it influences the novel’s very form.

Robert and Michelle King’s show fits an enormous story about the fallibility of humankind inside a network procedural.

The uncertain process of Joe Biden’s withdrawal from the 2024 race showed how little power parties wield.

The space rom-com with Scarlett Johansson and Channing Tatum doesn’t know what it wants to be.

A book of intimate interviews reveals how reluctant people are to speak about their true desires.

After news of Munro’s betrayal of her daughter, it’s hard not to see a preoccupation with guilt and secrets in her later work.

Barrett Brown wanted to use the internet to change the world. He ended up writing a remarkable memoir of his life in prison.

Nostalgia is Kevin Costner’s specialty, from hits like “Field of Dreams” to revanchist epics like “Horizon.”

Lawrence Ingrassia lost his family members to cancer one by one. Why did it take so long for medicine to find the cause?

The diaries changed Che Guevara’s image from toughened fighter to sensitive, less certain young man.

Norman Mailer’s generation learned to “write like men.” But their female contemporaries from Mary McCarthy to Diana Trilling pioneered a more enduring style.

“Blue Ruin” is a sharp novel about art, authenticity, success, and disaster.

Vinson Cunningham’s novel “Great Expectations” tracks the ambitions and ideals of a young campaign staffer.

From looted artifacts to rogue employees, a series of crises have beset some of the world’s most visited collections.

The case of Anna O. showed that psychoanalysis worked. Did Freud tamper with it?

The American public is more susceptible than ever to skewed narratives.

Catherine Breillat’s provocative new film is like a watercolor dabbed with cyanide.