Coming Soon

This Is Not a Game is the extraordinary untold story of the internet’s first conspiracy theory, the legend of Ong’s Hat. Marc Fennell will dive deep into a previously unexplored world of tech hippies, eccentric web subcultures and simmering paranoia, uncovering how this tongue-in-cheek artistic experiment backfired on its creator and went on to influence much of what’s wrong with the internet today.

Danny Wallace, million-copy bestselling author of Yes Man and Join Me, has fallen down the modern rabbit hole of lies, conspiracies and disinformation. Along the way, he encounters families torn apart by accusations and fake news, journalists putting themselves on the frontline of the disinformation war, reformed conspiracy theorists, influencers who see profit in stoking paranoia, and the shadowy nameless, faceless trolls on the other side of our screens.

Have you ever seen a baby pigeon? You haven’t, have you? No one has, not in many, many years. They used to be everywhere. You couldn’t walk out of your front door in New York City in the 1930s without seeing dozens of those little guys scurrying around. Today, there are millions of grown up pigeons in New York, but not a baby pigeon to be seen. That’s because they come out of the factory as adults. In Birds Aren’t Real, whistleblowers Peter McIndoe and Connor Gaydos trace the roots of a political conspiracy so vast and well-hidden that it almost seems like an elaborate hoax.

Crikey owner and ex-News Corp and Fairfax editor lifts the lid on the abuse of power by media moguls–from William Randolph Hearst to Elon Musk–and on his own unique experience of working for (and being sued by) the Murdochs.

In The Visual Detox, art expert and businesswoman Marine Tanguy explains how the imagery we see shapes our wellbeing. She gives us new tools to think critically about images, combat information overload and participate more in the visual world around us by engaging with the art and content that improves our day-to-day experiences online, at work, in our homes and in public spaces.

When Brian DePalma's operatically violent and profane Scarface debuted in 1983, the film drew almost as much fire as the relentless gunfire in the film itself. The movie was a remake of 1932's Scarface—revamped for a new era of drugs, sex, and graphic violence. Attacked as both a celebration of cocaine-fueled excess and a condemnation of it, the film's reputation only grew as the years went by. But the real story of its success started nearly a century ago-when Hollywood first fell in love with the American gangster . . .

Have you ever seen a baby pigeon? You haven't, have you? No one has, not in many, many years. They used to be everywhere. That's because they come out of the factory as adults. In the 1970s, the United States government killed off the entire bird population and replaced them with robotic bird replicas that are used for mass surveillance. Bird drones that recharge on power lines and leave 'liquid tracking devices' on your car are omnipresent while the American people live in blissful ignorance. Until now.

引退を機に明かす、人気番組の舞台裏「これは僕の、テレビ界への遺言です」全て実名で綴る、テレビへの愛と提言

Virtually all mainstream media experts, pundits, and late-night talk-show hosts claim that conservatives are a bunch of unhinged conspiracy theorists. Entire teams of journalists take deep dives into the creepy underbelly of the conservative Internet to root out the latest right-wing nuttery, giving fringe voices far more attention than they could ever find otherwise. There’s just one big problem: It’s not just Republicans who get caught up in conspiracy theories.

From award-winning journalist Beth Ashley comes a groundbreaking investigation into the history of slutshaming, how it continues to affect us today and what we can do to fight it. What is a slut? Where did the word come from? And what do the Jonas Brothers, TikTok and Shakespeare have to do with it? Beth Ashley has the answers in this eye-opening account of slutshaming through the ages and how it’s changed over time but still affects us in the 21st century.

Schulleiterin und Digitalexpertin Silke Müller warnt davor, Kinder mit künstlichen Intelligenzen allein zu lassen. In ihrem aufrüttelnden Buch analysiert sie, was die KI-Revolution für Bildung und Erziehung bedeutet und gibt praktischen Rat, wie Eltern ihre Kinder schützen und kompetent begleiten.

How did we become a world where facts—shared truths—have lost their power to hold us together as a community, as a country, globally? How have we allowed the proliferation of alternative facts, hoaxes, even conspiracy theories, to destroy our trust in institutions, leaders, and legitimate experts? Best-selling journalist Steven Brill documents the forces and people, from Silicon Valley to Moscow to Washington, that have created and exploited this world of chaos and division—and offers practical solutions for what we can do about it.

In The Quiet Damage, celebrated reporter Jesselyn Cook unfolds the heartbreaking stories of five representative families from couples young and old to rural white parents to urban Black siblings, to show how QAnon shattered bonds once believed unbreakable. Cook paints a portrait of American suffering, of the vulnerabilities that have left people susceptible to outrageous theories promising order and control in a world where both are increasingly in short supply.

In 2021, when the gavel fell at Christie’s on the sale of Mike Winkelmann’s Everydays series—a compilation of 5,000 digital artworks—it made a thunderous announcement: Non-fungible tokens had arrived. The ludicrous world of CryptoKitties and Bored Apes had just produced a piece of art worth $69.3 million (at least according to the highest bidder). On that day, the traditional art market—the largest unregulated market in the world—put its stamp of approval on a very new and carnivalesque digital reality. But what did it mean for these two worlds to collide?

We now live in a new age of beauty. With advancements in cosmetic surgery, accessible tweakments, augmented reality face filters, photo editing apps, and exposure to more images than we were ever meant to see, we have the ability to craft ourselves in whichever way we please. We pinch, pull, squeeze, tweeze, smooth and slice ourselves beyond recognition. But is modern beauty culture truly empowering? Are we really in control?