James McWilliams

Technically, Colin Kaepernick withdrew his collusion case. Technically, the NFL did not admit that it conspired to blackball Kaepernick from the league after he began taking a knee during the national anthem to protest racial injustice. But nontechnically speaking, the NFL lost. Massively.

The terms of the settlement, announced on Friday, were not disclosed. But it doesn’t matter how much money Kaepernick ultimately receives from the NFL; what matters is that he bested a league that has a long history of pummeling its opposition in court, especially players.

In a way, the NFL had no other choice. Last August, arbitrator Stephen Burbank rejected the NFL’s request to have the case dismissed. That meant he believed Kaepernick’s team had compiled enough receipts to present their case. With another hearing reportedly scheduled for next month, did the NFL really want to let Kaepernick’s legal team expose those receipts in court?

To support President Trump is to be complicit in the rule of a thin-skinned authoritarian who denigrates the free-speech rights of people who criticize him.

The latest illustration: his weekend outburst against Saturday Night Live, a sketch-comedy show that has regularly poked fun at every American president for 40 years. The most powerful snowflake in America was triggered by Alec Baldwin. “Nothing funny about tired Saturday Night Live on Fake News NBC!” Trump tweeted. “Question is, how do the Networks get away with these total Republican hit jobs without retribution? Likewise for many other shows? Very unfair and should be looked into. This is the real Collusion!”

Lest there be any doubt about the implications, Trump tweeted in December of 2018 that “A REAL scandal is the one sided coverage, hour by hour, of networks like NBC & Democrat spin machines like Saturday Night Live,” declaring, “It is all nothing less than unfair news coverage and Dem commercials. Should be tested in courts, can’t be legal? Only defame & belittle! Collusion?”

Amid the human crush of Old Delhi, on the edge of a medieval bazaar, a red structure with cages on its roof rises three stories above the labyrinth of neon-lit stalls and narrow alleyways, its top floor emblazoned with two words: birds hospital.

On a hot day last spring, I removed my shoes at the hospital’s entrance and walked up to the second-floor lobby, where a clerk in his late 20s was processing patients. An older woman placed a shoebox before him and lifted off its lid, revealing a bloody white parakeet, the victim of a cat attack. The man in front of me in line held, in a small cage, a dove that had collided with a glass tower in the financial district. A girl no older than 7 came in behind me clutching, in her bare hands, a white hen with a slumped neck.

Sometime during the past few years, the country started talking differently about white Americans of modest means. Early in the Obama era, the ennobling language of campaign pundits prevailed. There was much discussion of “white working-class voters,” with whom the Democrats, and especially Barack Obama, were having such trouble connecting. Never mind that this overbroad category of Americans—the exit pollsters’ definition was anyone without a four-year college degree, or more than a third of the electorate—obliterated major differences in geography, ethnicity, and culture. The label served to conjure a vast swath of salt-of-the-earth citizens living and working in the wide-open spaces between the coasts—Sarah Palin’s “real America”—who were dubious of the effete, hifalutin types increasingly dominating the party that had once purported to represent the common man. The “white working class” connoted virtue and integrity. A party losing touch with it was a party unmoored.

We decided not to tell the kids. Marla knew that once our three daughters understood that their mother had been given 1,000 days to live, they’d start counting.

They would not be able to enjoy school, friends, their teams, or birthday parties. They’d be watching too closely—how she looked, moved, acted, ate, or didn’t. Marla wanted her daughters to stay children: unburdened, confident that tomorrow would look like yesterday.

Marla was my first and only girlfriend. We were introduced in October 1987, when we joined a coed intramural flag-football team in Ann Arbor, Michigan. I wasn’t very good with women, monosyllabic in their presence. We all went to a bar after one game, and I came home with a napkin on which I’d jotted down words to describe Marla: “Hot. Fast. Fun. Sweet. Flint.” Yes, flint as in Flint, Michigan—her hometown—but also flint as in flinty—steely, speedy, mighty, glinting.

A month later, I mustered the nerve to call her house phone (we only had landlines in 1987). We would spend the next 31 years together.

Marla could water-ski barefoot. I was a rabbi’s kid; I rarely even went on boats. She made a habit of taking me places.

If you had asked me on our wedding day, I would have told you with confidence what our love would look like: We’d be a couple who jogged together in Scarsdale, danced in Nantucket together, carved through snow or lakes on skis together, spun the Hanukkah dreidel together with our children, and sang along together to Bruce Springsteen (her prescient favorite was “Tougher Than the Rest”). I would not have said we’d be a couple who fought a fatal illness together. Nor that this private act would be the thing that united us the most.

In 2009, Marla’s radiologist called to tell her that she had early-stage breast cancer. She was also BRCA-positive, meaning that she carried the inherited gene for the disease—a troublesome marker. After a double mastectomy and ovary removal, she needed eight rounds of chemotherapy to clear the cancer found in her lymph nodes.

Our kids were 8, 9, and 11 at the time, and though they understood then that she was undergoing treatment (wigs were hard to hide), we never told them the news we soon learned from Memorial Sloan Kettering’s head of breast-cancer oncology: Marla had a triple-negative cancer cell, the fiercest of them all. When linked with the BRCA mutation, it is commonly referred to as “the breast-cancer death sentence.” This specialist bluntly told her: “Go live your next 1,000 days in the best way you know how.”

On Wednesday, May 10, 2017, my first full day on the job as acting director of the FBI, I sat down with senior staff involved in the Russia case—the investigation into alleged ties between the Trump campaign and the Russian government. As the meeting began, my secretary relayed a message that the White House was calling. The president himself was on the line. I had spoken with him the night before, in the Oval Office, when he told me he had fired James Comey.

A call like this was highly unusual. Presidents do not, typically, call FBI directors. There should be no direct contact between the president and the director, except for national-security purposes. The reason is simple. Investigations and prosecutions need to be pursued without a hint of suspicion that someone who wields power has put a thumb on the scale.

When I woke up this morning, I had one goal: Finish this article by 11 a.m.

So, predictably, by the time it was 10 a.m., I had made and consumed two cups of coffee, taken out the trash, cleaned my room while taking a deliberately slow approach to folding my shirts, gone on a walk outside to clear my head, had a thing of yogurt and fruit to reward the physical exertion, sent an email to my aunt and sister, read about 100 Tweets (favorited three; written and deleted one), despaired at my lack of progress, comforted myself by eating a second breakfast, opened several tabs from ESPN.com on my browser ... and written absolutely nothing.

What's the matter with me?* Nothing, according to research that conveniently justifies this sort of behavior to my editors. Or, at least, nothing out of the ordinary for writers, as Megan McArdle has explained on this site. I'm just a terrible procrastinator.

The potential judgment of students can lead a teacher to do strange things. For Monique Mongeon, an arts educator in Toronto, starting a job teaching adults sparked a small crisis of confidence. “I was in my mid-20s, and I was looking at things I could do to make myself feel like a person who had authority to stand in front of a bunch of other 20-somethings,” she says. After ruling out fancy bags and shoes as too extravagant, Mongeon settled on a sleek $45 water bottle. “I was scrolling through websites thinking, Which of these S’well bottles looks like the kind of person I want to be?”

Nine years ago, there was only one S’well, and it was blue. Now you can get the curvy, steel-capped bottles in more than 200 size-and-color combinations, including some that look like marble or teakwood. Many are customizable with your initials. The big ones will hold an entire bottle of wine, and smaller versions are made for cocktails or coffee. Teens offer S’well bottles to propose to prospective prom dates. They’re a common sight in Instagram photos of artfully stuffed vacation carry-ons and aesthetically pleasing desk tableaux.

For two years, in the early 1990s, Richard Palmer served as the CIA station chief in the United States’ Moscow embassy. The events unfolding around him—the dissolution of the Soviet Union and the rise of Russia—were so chaotic, so traumatic and exhilarating, that they mostly eluded clearheaded analysis. But from all the intelligence that washed over his desk, Palmer acquired a crystalline understanding of the deeper narrative of those times.

Much of the rest of the world wanted to shout for joy about the trajectory of history, and how it pointed in the direction of free markets and liberal democracy. Palmer’s account of events in Russia, however, was pure bummer. In the fall of 1999, he testified before a congressional committee to disabuse members of Congress of their optimism and to warn them of what was to come.

Long before the future leaders of America were moonwalking with shoe polish smeared on their cheeks, the first blackface minstrels took to the stage in the early 19th century. Beginning in the decades leading up to the Civil War, troupes of white men, women, and children darkened their faces with burnt cork and traveled the country performing caricatures of blackness through songs, dances, and skits. These performances, arising out of Pittsburgh, Louisville, Cincinnati, and other cities along the Ohio River, became one of America’s first distinct art forms and its most popular genre of public entertainment.

From the beginning, minstrelsy attracted criticism for its racist portrayals of African Americans. Frederick Douglass decried blackface performers as “the filthy scum of white society, who have stolen from us a complexion denied to them by nature, in which to make money, and pander to the corrupt taste of their white fellow citizens.” In venues where black artists were often banned from performing and black audiences, if they were admitted at all, were forced to occupy segregated sections, white entertainers in blackface furthered the same paternalistic and degrading stereotypes that plantation owners and politicians advanced to justify slavery, and helped create a racist symbology that came to represent generations of prejudice. Shows featured a cast of recurring characters: the clownish slave Jim Crow; the obsequious, maternal Mammy; the hypersexualized wench Lucy Long; the arrogant dandy Zip Coon; the lazy, childish Sambo. Some of these archetypes continue to surface in the present day.