James Parker dissects two of Jim Carrey's most unnervingly subversive onscreen moments, and contrasts them with a scene from the Bill Murray film Groundhog Day.
"Jim Carrey will loom large in our shattered posterity, I believe, because his filmography amounts to a uniquely sustained engagement with the problem of the self. ... How about an insurance salesman who discovers that his whole life is an elaborate fiction created by a malign TV producer?! Or—yeah!—a mendacious lawyer compelled to tell the truth for 24 hours?!"
In Istanbul, James Fallows encounters an unexpected aesthetic power and harmony.
"Before going to Istanbul, I barely thought about the place. Now, a year later, it is often on my mind. That is mainly because it provides what is rarest in travel: an aesthetic and even sensual surprise."
Politicians and journalists hide from assassins in Lebanon's capital city.
Scenes from an Atlantic event at the Newseum on November 19, 2008
Caitlin Flanagan brings a camcorder and a savvy 14-year-old girl to a premiere of the new vampire movie.
"Twilight is fantastic. It’s a page-turner that pops out a lurching, frightening ending I never saw coming. It’s also the first book that seemed at long last to rekindle something of the girl-reader in me. In fact, there were times when the novel—no work of literature, to be sure, no school for style; hugged mainly to the slender chests of very young teenage girls, whose regard for it is on a par with the regard with which just yesterday they held Hannah Montana—stirred something in me so long forgotten that I felt embarrassed by it."
A discussion with Senator George Mitchell and former NFL Commissioner Paul Tagliabue. Moderated by Zander Baron.