Edward McLaren’s recently published novel Bothelford’s Gone fictionalizes Britain’s grooming gangs.

Four weeks after topping the charts, The Abandons is already forgotten. Is this the end of the Western—or a symptom of instant-gratification culture?

The solutions proposed are dramatic, but not compared to possible alternatives: social collapse, ethnic strife, or, if Professor David Betz’s warnings prove true, civil war.

Bill Forsyth’s Comfort and Joy has the quiet dignity of an old Christmas jumper, albeit one with a distinctly odd pattern.

Aelthelstan was both brutal and crafty but also appeared pious and genuinely concerned for the welfare of his kingdom.

In a brilliant dissection of the political “extreme center,” Bock-Côté shows that liberal technocracy is as much of a threat to freedom as the woke mob.

Long before the birth of AI, the British Empire used archival bureaucracy to manage populations.

The author exposes that woke is not, as many probably think, an overdose of niceness. Woke is pure authoritarianism.

The ideology hijacking campuses tells students that “what matters is not their individual achievements and character but merely their race, sex, gender or some other fixed identity.”

Douglas Murray’s searing eyewitness account reveals how a nation’s resilience turned catastrophe into clarity.

These films remind us of the importance of respecting the sacred narratives they seek to portray and leave the viewer pondering the line between artistic license and misrepresentation.

When the past is judged by the harsh standards of the present, the history of the West becomes little more than a history of oppression of weaker groups by dominant European ethnicities and countries.