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Salon is a spirited home for journalism that takes a critical look at current events, seeks alternatives to the status quo, engages with big ideas and holds power to account. Embracing a wide range of liberal and progressive views, we cover the arts and culture with rigor and insight, champion social progress and, with our digital community, lead good-faith debates about the stuff that really matters. We question authority and assumptions, starting with our own.

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Internet Publishing
Company size
11-50 employees
Headquarters
New York, New York
Type
Privately Held
Founded
1995

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    Unsold tickets, luxury pricing, empty seats reveal how the Games drifted from their roots as a public celebrationhttps://bit.ly/46zxJZ4

  • View organization page for Salon.com

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    Wikipedia — “the best website in the history of the internet” — turns 25 this week. As Troy Farah writes, it’s a rare survivor of a web hollowed out by “profit-hungry algorithms, AI slop and racist bots.” Built by volunteer editors who nitpick citations and uphold editorial standards, Wikipedia remains a bastion of what the internet once was. “The World Wide Web can feel like a pretty dark place lately,” Farah writes, “but on Wikipedia — which exists in 340 languages, hosts 7.1 million articles in English, and is consistently among the top 10 most visited websites — it feels a lot different, much brighter and more free.” Which is exactly why Elon Musk wants to destroy it. Read why his AI-generated alternative, Grokipedia, isn’t about seeking truth at all, but “muddying the waters of what you can trust online.”

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    After helping elect President Donald Trump, major tech companies could be in for yet another windfall as Congress examines a suite of bills opponents have dubbed the “Bad Internet Bills.”The bills percolating in Congress range in their purported purpose; some are aimed at cracking down on drug smuggling, others are aimed at limiting what minors see online, but each one has the potential to break down what privacy protections exist for people online.Read more:https://bit.ly/491a58o

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    As movie screens go dark across the country, Coleman Spilde went back to where he grew up in North Dakota to ask what survives when corporate theaters and streaming hollow everything out.In Hebron, it’s the Mayer Theatre, an old-fashioned, single-screen movie house. Owner Bonnie Brekke wants it to be “an anchor,” a place where “you get people that come here, they haven’t seen their friends for a while… They haven’t had a real place to congregate.”The Mayer still takes cash and local checks. Tickets are handwritten. Popcorn comes out of a 76-year-old machine that’s been there since the theater opened. “We’re like a little family, the volunteers,” one local tells Spilde. Another puts it more plainly: the Mayer “is the only thing in town, really.”What Spilde sees at the Mayer is becoming rarer. Small-town independent cinemas, he writes, are “the antithesis of the movie-theater corporatization that has exacerbated our nagging, national loneliness.” When they disappear, “it damages the increasingly fragile sense of community.” Moviegoing itself, he reflects, is “a shared experience, a journey that everyone who paid the price of admission embarks on together.”“Cinema and community are intertwined, and we need them to survive in this world.” Because, as Coleman writes, “we don’t just go to movies for vicarious adventures. We go to make memories, to forge new pieces of ourselves that we can carry with us after we leave the theater and walk back into the real world.”Read Coleman Spilde on cinema, community and the fight to keep small-town theaters alive. 🔗https://bit.ly/4rUQKOO

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    Many TV viewers aren’t sweating Netflix’s attempt to swallow Warner Bros. Discovery. As one colleague told Melanie McFarland, “It’s all Netflix to me.” But inside the industry, this $82.7 billion takeover is “a massive upheaval,” one likely to result in “job losses at every level.”“Hollywood is still recovering from the pandemic,” McFarland explains, “the dual guild strikes that brought the town to a standstill in 2023, the wildfires that tore through Los Angeles earlier this year and the Paramount Skydance merger. Multiplexes continue to struggle as audiences remain camped out in their living rooms and theater-to-streaming windows narrow. Throw in Donald Trump’s hobby of strong-arming networks and studios to do his bidding, and all in all, it’s a frightening time to have a career tied to America’s dream factory.”And yet, as Melanie notes, from a consumer perspective, if it’s “all Netflix,” then “what would be so terrible about HBO’s icons like ‘The Wire,’ ‘The Sopranos,’ ‘Game of Thrones’ and the studio that brought us ‘Barbie’ being housed under one big red tu-dum umbrella?” Meanwhile, Paramount Skydance’s hostile takeover bid only escalates the tension — and the truth is, no one knows how this movie ends.Read Melanie's explainer on what’s really at stake in the Netflix-ification of Hollywood:https://bit.ly/3MvHall

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    The fruity martini is having a moment again — and this time, it’s gone technicolor.As veteran drinks journalist Robert Simonson puts it, “there was a period in the 1990s and the early 2000s where anything you put in a martini glass was called a martini.” That era — the Appletini, the Watermelon Martini, the Chocolate Martini — was the spiritual birthplace of the fruity martini, a sweet, youthful break from the stiff dry martini.Some would argue its return kicked off with the espresso martini going viral, and bartenders didn’t stop there. They’ve been rebuilding those 90s flavors with real ingredients: an apple martini crafted with clarified apple juice or an eau de vie from Europe instead of a chemical-tasting green-apple pucker liqueur, and lychee martinis made with real lychee — the nut, the syrup or clarified juice. “We live in a time where dishes and drinks are engineered not simply to taste good, but to be photographed well,” Salon’s Francesca Giangiulio writes. “It’s performative food, and the fruity martini sits right in the center.”Read more on the fruity martini 2.0 ⬇️https://bit.ly/4roUsQF

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    Maybe it’s nostalgia, trendy aesthetics or just old-school marketing, but restaurant matchbooks are suddenly everywhere again. They’re turning into décor, weekend scavenger-hunt goals and sentimental keepsakes that mark friendships, relationships, inside jokes and the places people love.Read more on how the humble matchbook is having a revival ⬇️https://bit.ly/4obcVNy

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    Why do we call the good stuff “gravy”? The word has traveled a long way — from a medieval scribal mistake to a modern shorthand for luck, ease and those little windfalls that make life feel briefly charmed.Before it became a metaphor, gravy was literal: a sweet almond-thickened broth in 14th-century cookbooks that eventually shed its medieval robes and settled into the savory sauce we know today. From there the word kept drifting — showing up in early slang as “unexpected profit,” “cushy work” and eventually the “gravy train.” No wonder it surfaces everywhere from “Succession” to political messaging.And this season, as gravy boats make their way back to the center of the Thanksgiving table, Ashlie D. Stevens writes that the real magic of the word is how it captures those small charmed moments that make us say, “It’s all gravy.”Read the full story:https://bit.ly/4ri6SK0

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    After the 2024 election, much of the media fixated on “bro” podcasters like Joe Rogan and right-wing influencers like the late Charlie Kirk to explain young men’s political drift. What got far less focus was a parallel ecosystem drawing them in: “dating” shows that aren’t really about dating at all but about pumping out misogynistic content.That’s where “Dating Talk” comes in — though most people simply call it Whatever. This viral YouTube juggernaut markets itself as relationship advice but functions as a pipeline of manufactured humiliation. As Amanda Marcotte reports in her new investigation, host Brian Atlas has turned hours-long “stress test” shoots with guests — usually young, conventionally attractive women — into a nonstop clip factory: badgering them about their “body count,” demanding they remove makeup on-air, using AI aging filters, and staging debates designed to exhaust them into silence. Many guests assumed they were walking into a lighthearted or mildly risqué show about sex and relationships, only to be ambushed by Atlas’ barrage of political questions they weren’t prepared to answer.Experts say Whatever's formula radicalizes boys by selling a red-pilled worldview: that feminism ruined dating, that only a tiny elite of men can ever find love and that women’s freedom is the problem. Dating coaches told Salon it leaves young men “helpless,” lonely and convinced they’ll never be “man enough.” One former guest put it more bluntly: content like this is “creating so many more incels.”Read how this content factory exploits male insecurity — and why it’s pulling teen boys deeper into the manosphere 👉https://bit.ly/4ocPd3A

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    For one American mom, the structural and cultural pressures of motherhood led to a life-changing move abroad — and a new understanding of what it means to be cared for.https://bit.ly/4nOijGp

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