“What it means — for the reporting we do, for the brands we represent, and for our own mental health — that we don’t stop being black people when we’re working as black reporters. That we quite literally have skin in the game.”
A reporter’s memories from a half-century of covering business.
On the front lines of a dating culture dominated by right and left swipes.
“Deep down, he wants to be Madonna.”
The woman trophy hunter, notorious for her controversial “hero shot” beside a dead giraffe, profiled.
The mutual hatred of Gore Vidal and William F. Buckley, Jr., punctuated by great insults like “crypto-Nazi.”
Being a Muslim-American actor often means being really good at yelling “Allahu Akbar!” before someone kills you.
The life of Kim Kardashian.
The man who gets all the superhero scoops in Hollywood.
Catching up with Julian Assange and Wikileaks.
On the adultery website AshleyMadison.com.
On the controversial British newspaper columnist Katie Hopkins.
The broadcasting behemoth is up for a charter renewal in the United Kingdom, and it’s exposing every crack in the organization.
On the modern era’s answer to James Baldwin.
Loretta Young, Clark Gable and the truth behind one of old Hollywood’s greatest scandals.
Hanging out with a new celebrity class: the teen kings and queens of social media.
Mike Bloomberg goes back to work.
A New York gossip reporter makes her way in the wilds of European bureaucracy.
A trip to the writers’ room of The Onion spinoff, which started as a BuzzFeed parody but has morphed into something else: “the institutional voice of the Internet.”
The CNN anchor may not be the clueless bumbler the internet believes him to be.
On Kendall Jenner, public versus private lives, and the American Dream.
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?
“None of this should have ever happened. It makes absolutely no sense at all. It’s truly crazy.”
