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We live in a country that embodies three different dystopian archetypes at once: America is partly a panopticon surveillance-and-security state, as in Orwell, partly an anesthetic and amoral consumer wonderland, as in Huxley, and partly a grand rhetorical delusion or “spectacle,” as in Dick or “The Matrix” or certain currents of French philosophy.

Richard Davis chairs the negotiating committee at the nonprofit responsible for the Minnesota Orchestra. Last October 1, Davis and his fellow corporate managers who run the nonprofit "locked out" the orchestra's musicians after they refused to accept a contract offer that would have cut musician pay by up to 50 percent and jumped annual health care premiums by up to $8,000. These musicians are not striking. Quite the contrary.

The 2011 official poverty rate is 15.1%. The new poverty measure presented—and missed by a wide margin—the opportunity to bring into public view how widespread the problem of poverty is for American families. If what we mean by poverty is the inability to meet one’s basic needs a more reasonable poverty line would tell us that 34% of Americans—more than one in three—are poor.

Week by week, Monday by Monday, since April 29, a growing coalition assembled by the N.A.A.C.P. has challenged the newly conservative Republican leadership in North Carolina, raising its voice against the loss of the state’s centrist government and what they see as diminished recognition of the poor and minorities.

In April, the union included four billionaires on its “watch list” of money managers that support groups the labor organization said are hostile to traditional public pensions. The groups included StudentsFirst, an organization that backs eliminating tenure and funding charter schools at the same level as public ones. Daniel Loeb, founder of Third Point LLC, an activist investor is the only one of 33 managers targeted by the AFT to push back publicly against the union.

Twenty years ago, after appearing in two phenomenally successful, visually opulent and generally brilliant Batman movies, Michael Keaton decided he didn't want to make any more Caped Crusader films. So he walked away. It was a disastrous move that effectively ended Keaton's career as a leading man, the actor learning the hard way that the only unforgivable crime in Hollywood is to walk away from a phenomenally successful franchise.

Addressing many of the issues arising from last week's NSA stories