Inside Alden Global Capital.

A history of the New York Times Styles section.

Growing old at the Playboy Mansion.

On navigating the New York media world as a young journalist.

A profile of Jimmy Breslin.

How New York Times is clawing its way into the future:

The main goal is... to transform the Times’ digital subscriptions into the main engine of a billion-dollar business, one that could pay to put reporters on the ground in 174 countries even if (OK, when) the printing presses stop forever. To hit that mark, the Times is embarking on an ambitious plan inspired by the strategies of Netflix, Spotify, and HBO: invest heavily in a core offering... while continuously adding new online services and features... so that a subscription becomes indispensable to the lives of its existing subscribers and more attractive to future ones.

The demise of a once-great newspaper.

Fifty years ago, Rona Barrett forged a Hollywood gossip empire. Then she left it all behind, her innovations attributed to others, her legacy almost entirely overlooked.

The post-newsroom lives of veteran newspaper reporters who have lost their jobs.

A profile of New York Times obituary writer Alden Whitman.

Joan Didion versus the boys on the bus:

American reporters “like” covering a presidential campaign (it gets them out on the road, it has balloons, it has music, it is viewed as a big story, one that leads to the respect of one’s peers, to the Sunday shows, to lecture fees and often to Washington), which is one reason why there has developed among those who do it so arresting an enthusiasm for overlooking the contradictions inherent in reporting that which occurs only in order to be reported.

David Simon and Richard Price, two of the greatest crime storytellers of our time, talk about their craft.

Joseph Mitchell used composites in his non-fiction, invented characters and added flourishes to his facts. Does it matter?

The article that kept the New Yorker alive was written by a debutante. Who happened to be married to Irving Berlin.

They’re still printing it on paper.

What does satire do? What should we expect of it? Is it crucial to Western culture that we be free to produce it?

How a reporter’s assistant got into trouble with Beijing security.

What it was like to edit The New Republic at its most contentious.

One of the little tweaks I made the first time I got the job was to change the slogan on the table of contents from “A Journal of Politics and the Arts” back to the original: “A Weekly Journal of Opinion.” All the fine reporting notwithstanding, what The New Republic did best, had always done best, was opinion. Its politics were polemical, its art was the art of argument.

“I was in the visiting clubhouse waiting to interview one of the Oakland A’s this year when one of the players called, ‘Here, pussy’—as though he were calling a cat. But of course, he hadn’t lost Fluffy; he’d found a woman in his locker room.”

Sixteen years after he was exposed as the most fraudulent journalist of his generation, Stephen Glass is confronted by an old friend.

Ben Bradlee’s nagging concerns about Deep Throat.

A journalist’s memories of covering the great Baltimore fire of 1904.

Woodward and Bernstein’s other anonymous sources.

Marital advice columns from the past.