Author Archives: Noah Millman

About Noah Millman

Noah Millman, senior editor, is an opinion journalist, critic, screenwriter, and filmmaker who joined The American Conservative in 2012. Prior to joining TAC, he was a regular blogger at The American Scene. Millman’s work has also appeared in The New York Times Book Review, The Week, Politico, First Things, Commentary, and on The Economist’s online blogs. He lives in Brooklyn.

Who Exactly Is Pence Trying To Gaslight?

Looking for the meaning in political performance art.

Post-Debate Analysis

An interview from Oz with yours truly.

Speaking the People’s Language

What I’ll be listening for in tonight’s debate.

IP and Cultural Appropriation

Culture owned versus culture shared. on Douthat’s Democratic Disaster Scenario

Modeling the likelihood of a Trump minority win.

Failures to Communicate

On all sides, we’re not even trying to talk to each other anymore.

The State of the Race

It’s not neck-and-neck — but it could get there soon.

What Is to Be Done About Aleppo?

Gary Johnson has no idea. Neither do his opponents. Neither do I.

Free Speech Is For Jokers

The test cases are always for clowns.

The Last of the Sensitive New Age Jewish Guys

We’ll miss ’em now that they’re gone.

The Evolution of a Joke Campaign

From fool to jester to joker to clown.

Why The Clinton Foundation Is Gross

It’s because it’s a charity.

Flood The Zone?

If the nation is bored by tragedy and heroism in Louisiana, that’s the nation’s loss, not Louisiana’s.

A Tale Of Two States

What do the polls in key swing states tell us about Trump’s appeal?

Clinton’s Next Move

Reach out to Trump voters, not Republican leaders

Are Religious Voters Even Backing Trump?

Depends which religion you’re looking at

Clinton and the God Vote

What’s the plan if and when she wins? And if she — and her party — keep winning?

The Incoherence of the Religious Conservative Case For Trump

Losing patience with a losing argument.

Obama and the Limits of Progressive Patriotism

A patriotism rooted in ideology, whether left- or right-wing, inevitably divides rather unites.

Mid-Century Modern

What do a series of radical re-imaginings of American classics by European directors say about our relationship to our own history?

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