Jar-Jar Jesus
The Phantom Menace is George Lucas’s updated mythos for a cynical consumerist age — magical thinking without magic.

The fantasy that if we liberate data, we liberate ourselves plays into a larger fantasy about the Internet as a God-like entity whose desires we can fulfill and thereby sanctify our own lives.
But when technology wants fun to be productive and consumerism is heralded as innovation, the only prohibition is prohibition itself. Welcome to the YOLO society.
The Phantom Menace is George Lucas’s updated mythos for a cynical consumerist age — magical thinking without magic.
The extent to which the looks of women writers figures in appraisals of their skill indicates how thoroughly gendered the notion of “genius” remains
Marilynne Robinson’s essay collection is about the role of the critic in helping us to remember, to not forget, our potential as humans.
New Inquiry editor Samantha Hinds sat down with media theorist Douglas Rushkoff in the green room of Engadget TV for a discussion that ranged from Occupy Wall Street to his new graphic novel, A.D.D., about a team of speed-addled young gamers.
Reports from May Day 2012 from Kansas City to Athens.
Former Los Angeles Times book critic Susan Salter Reynolds and writer and editor Willie Osterweil talk about what it means to be a working writer in a precarious economy and how it has changed the nature of written culture and book reviewing.
Whether they take the form of a cassette tape or an etched whale’s tooth, handmade tokens of affection exemplify making a virtue out of making-do.
To ask the question of whether an LRAD is designed to hurt people or designed to communicate across long distances with people is to mystify its central design function: it is a technology whose purpose is to FORCE you to listen and obey, and one which is less interested in the difference than you’d think.
she probably told Gilgamesh he’d get fat off all those loaves of bread, probably sucker punched Jesus, replaced Roland’s horn with a protophonograph that split his temples from sheer sonic distress, told Vlad the Impaler that his methods were obsolescent, flooded Paris a few times for a laugh
If the New York Times can get away with describing a trans woman as “25 and curvaceous” in the first line of the piece covering her death, that means it only stopped describing all women in those terms because they “had” to.