Next week's big Euro 2012 games will be in Poland and Ukraine, notorious for violence and racism at their stadiums.
Supporters of a Ukrainian soccer team wave a Nazi flag at a 2007 match against an opposing squad. (Reuters).
What kind of sports event is it when the star athletes are telling fans not to go? Monday, a special report from BBC1's Panorama explored the racism in the soccer cultures of Poland and Ukraine, where the Euro 2012 soccer tournament will be held next week. The program showed Polish and Ukrainian fans beating up Asian fans and slurring opposing teams as "Jews."
The full 30-minute report is full of shocking moments. In Ukraine, there's one scene showing fans making monkey sounds at black players. There's also one where a white supremacist group admits it embraces "some aspects" of Nazism, like getting rid of non-Ukrainians. The group also happens to train its members in knife fighting. Polish slogans include "Jews to the gas" or "death to hooknoses."
When the BBC reporter showed retired English soccer player Sol Campbell some of the footage, he was horrified. When asked whether non-white fans should travel to Euro 2012, Campbell, who is black, was adamant: absolutely not, "because you could end up coming back in a coffin."
You can probably guess the next step in this news cycle: Tuesday, Poland and Ukraine said they would like it made very clear that they don't have a racism problem, thank you very much. "Nobody who comes to Poland will be in any danger because of his race," said the Polish prime minister. "This is not our custom, as is not pointing out similar incidents in other countries, although we know they take place. In Poland, they're a rarity." Ukrainian players and the Ukrainian ministry spokesman made similar comments.
Whom to believe? Yes, the BBC team could have spent three years finding instances of racism and pasting them together selectively. But is that really likely? The report wasn't quite as one-sided as Poland's interior minister is making it out to be -- it went inside a sort of anti-racist patrol class as well. Admittedly, given the historical East-West tension in Europe, a few more numbers wouldn't have hurt, and might have headed off the objectivity debate. But if things are even half as bad as the report makes out, why are these countries allowed to host the international competition?
Nothing excuses the disgusting words and actions shown in the BBC video, or, frankly, the denials and passive-aggressive blame-shifting from the host countries. ("There's racism other places, too!" is one of the lamest excuses there is.)
The immediate problem for Euro 2012, though, isn't Poland's or the Ukraine's messed up ethnic dynamics, or even their white supremacy groups' screwy rewriting of World War II history (though those are, in fact, problems). The issue is what to do about a competition that plausibly puts fans who just came in to watch a sports game at risk for racial targeting.
The Union of European Football Associations (UEFA), which awarded the competition to the host countries, has a response to the racism charges boils that down to this: insofar as there is a trend of racial violence in these countries, Euro 2012 is an "opportunity to address" those problems. Soccer administration has its own internal problems, allegations of corruption at FIFA, the global rather than European umbrella organization, among them. That aside, though, it does seem like this do-gooder theory of hosting choices is part of a larger trend over the last decade, one not restricted just to European soccer.*
The problem with international sporting committees acting like international development non-profits, though, is obvious: a goal of helping out a struggling country by giving it a massive sporting competition can directly conflict with the goal of successfully producing said sporting competition. With the cop-out response saying referees can always suspend a game, and suggesting that Euro 2012 will help Poland and Ukraine deal with their issues, UEFA is essentially saying that "addressing" racism in Poland and Ukraine is more important than making sure fans don't get hurt.
Sure, addressing racism is important, but does anyone really think UEFA is the organization to do it?
It all comes down to how much you buy the idea that sports is fundamentally about role models, bringing people together, shining a light into darkness, that sort of thing. And sports can be about that. But to assume they are always about that is to ignore drugging, blood doping, age cheating, race-baiting (take the recent case with John Terry in England), ice fights, and many more incidents where competition crowds out Kumbaya.
If there are incidents now, obviously UEFA's going to look pretty bad. As for Poland and Ukraine, if racism really is a problem in the soccer cultures there, would such an incident really act as more of a wake-up call than an internationally distributed BBC report? If this report is accurate, now is the time to reconsider mixing hosting decisions with activism.
* -Correction, June 2: This article originally misstated the organization responsible for Euro 2012 as FIFA, rather than European confederation UEFA. We regret the error.
Russia's strongman president has many Americans convinced of his manipulative genius. He's really just a gambler who won big.
I. The Hack
The large, sunny room at Volgograd State University smelled like its contents: 45 college students, all but one of them male, hunched over keyboards, whispering and quietly clacking away among empty cans of Juicy energy drink. “It looks like they’re just picking at their screens, but the battle is intense,” Victor Minin said as we sat watching them.
Clustered in seven teams from universities across Russia, they were almost halfway into an eight-hour hacking competition, trying to solve forensic problems that ranged from identifying a computer virus’s origins to finding secret messages embedded in images. Minin was there to oversee the competition, called Capture the Flag, which had been put on by his organization, the Association of Chief Information Security Officers, or ARSIB in Russian. ARSIB runs Capture the Flag competitions at schools all over Russia, as well as massive, multiday hackathons in which one team defends its server as another team attacks it. In April, hundreds of young hackers participated in one of them.
Russian billionaire Yuri Milner says if the space rock 'Oumuamua is giving off radio signals, his team will be able to detect them—and they may get the results within days.
The email about “a most peculiar object” in the solar system arrived in Yuri Milner’s inbox last week.
Milner, the Russian billionaire behind Breakthrough Listen, a $100 million search for intelligent extraterrestrial life, had already heard about the peculiar object. ‘Oumuamua barreled into view in October, the first interstellar object seen in our solar system.
Astronomers around the world chased after the mysterious space rock with their telescopes, collecting as much data as they could as it sped away. Their observations revealed a truly unusual object with puzzling properties. Scientists have long predicted an interstellar visitor would someday coast into our corner of the universe, but not something like this.
Attacks on the special counsel aren’t about misconduct—instead, they’re aimed at discrediting the very idea of professionalism.
If you’re not a regular consumer of pro-Trump media outlets, it could be easy to underestimate or overlook the recent onslaught of attacks on Special Counsel Robert Mueller. There are a couple reasons for that. One is that this discourse exists almost entirely within that media ecosystem (which is distinct from, though overlapping with, the broader world of conservative media). The other is that critics have been calling for Mueller’s dismissal and an end to his probe since it was announced. Nonetheless, the intensity of the recent spree is notable, as is the gradual shift from ostensibly politically neutral critiques to openly partisan ones.
“Mueller is corrupt. The senior FBI is corrupt. The system is corrupt,” former House Speaker Newt Gingrich said on Fox News. The channel’s legal analyst Gregg Jarrett said Mueller was employing the FBI “just like the old KGB,” which Sean Hannity piously told viewers was “not hyperbole.” Using chilling language, Fox host Jeanine Pirro said, “There is a cleansing needed at the FBI and Department of Justice. It needs to be cleansed of individuals who should not just be fired but need to be taken out in handcuffs.”
The movie knows little—and cares less—about how people fall in love.
I confess that it wasn’t until recently that I understood the degree to which Love Actually, the 2003 romantic comedy by writer/director Richard Curtis, had been gradually reevaluated and granted the status of a “classic” holiday film. For me, the news came by way of a November Vulture piece that began, “It might be hard to recall, but the film that has now become a beloved holiday classic was one that initially received a flurry of mixed reviews.”
My own review was among several cited. I’ve of course always known that my take on Love Actually was more unforgiving than most. But beloved holiday classic? Really?
Well yes, evidently. Over the course of several conversations with friends and colleagues, some of them conducted with good cheer but at high volume—I refer interested parties to the Twitter feeds of Atlantic employees on the afternoon of November 20th—it was confirmed to me that a considerable number of people not only consider Love Actually a classic, but go so far as to watch the movie annually as a holiday tradition.
“The U.S. is now the most unpredictable actor in the world today.”
As conflicts ignite and burn and flicker out around the world, U.S. officials assess the dangers they represent back home. Not all of these conflicts directly threaten American interests, which is why the Council on Foreign Relations conducts an annual survey to help U.S. leaders prioritize threats in the year ahead. For the past decade, this survey has focused on the risks posed to America by foreign actors. Now it’s reckoning with the risks America poses to the world—and to itself.
“The U.S. is now the most unpredictable actor in the world today, and that has caused profound unease,” said Paul Stares, the director of CFR’s Center for Preventive Action, which produces the annual survey. “You used to be able to pretty much put the U.S. to one side and hold it constant, and look at the world and consider where the biggest sources of unpredictability, insecurity are. Now you have to include the U.S. in that. … No one has high confidence how we [Americans] would react in any given situation, given how people assess this president.” This president might welcome the development. “I don’t want people to know exactly what I’m doing—or thinking,” Donald Trump wrote in 2015. “It keeps them off balance.”
The cryptocurrency is almost certainly due for a major correction. But its long-term value remains a mystery.
To call Bitcoin the biggest and most obvious bubble in modern history may be a disservice to its surreality.
The price of bitcoin has doubled four times this year. In early January, one bitcoin was worth about $1,000. By May, it hit $2,000. In June, it breached $4,000. By Thanksgiving, it was $8,000. Two weeks later, it was $16,000.
This astronomical trajectory might make sense for a new public company with accelerating profits. Bitcoin, however, has no profits. It’s not even a company. It is a digital encrypted currency running on a decentralized network of computers around the world. Ordinary currencies, like the U.S. dollar, don’t double in value by the month, unless there’s a historic deflationary crisis, like the Panic of 1837. Instead, bitcoin’s behavior more resembles that of a collectible frenzy, like Beanie Babies in the late 1990s.
The depiction of uncomfortable romance in "Cat Person" seems to resonate with countless women.
Recent months make it seem like humanity has lost the instruction manual for its “procreate” function and has had to relearn it all from scratch. After scores of prominent men have been fired on sexual-assault allegations, confusion reigns about signals, how to read them, and how not to read into them. Some men are wondering if hugging women is still okay. Some male managers are inviting third parties into performance reviews in order to avoid being alone with women. One San Francisco design-firm director recently said holiday parties should be canceled, as The New York Times reported, “until it has been figured out how men and women should interact.”
Into this steps “Cat Person,” a New Yorker fiction story by Kristen Roupenian that explores how badly people can misread each other, but also how frightening and difficult sexual encounters can be for women, in particular. “It isn’t a story about rape or sexual harassment, but about the fine lines that get drawn in human interaction,” Deborah Treisman, The New Yorker’s fiction editor, told me.
There is clear evidence that it’s best to show children relationship skills that never escalate to physical harm.
Spanking looks to be instantlyeffective. If a child is misbehaving—if he keeps swearing, or playing with matches—and then you spank that child, the behavior stops immediately.
The effect is so apparently obvious that it can drive a sort of delusion. Lived experience tends to be more powerful than facts. One of the few memories that many people retain from early childhood is times they were spanked. The desire to believe it was “for our own good” is strong, if only because the alternative interpretation is bleak.
It’s in the face of personal experiences like these that science has been flailing for generations. Some 81 percent of Americans believe spanking is appropriate, even though decades of research have shown it to be both ineffective and harmful. The refrain I keep hearing is, “Well, I got spanked, and I turned out okay.”
The stinging, gelatinous blobs could take over the world’s oceans.
In my mid-20s, I spent three months living in Broome, a coastal township in Western Australia famous for its moonrises, pink beaches, and pearl farms. Each morning during what is known locally as “the buildup” (the hot, muggy weeks heralding the wet season), I would stuff a towel in a bag and trudge out to where the red pindan soil—distinctive to the Kimberley region—marbles powdery dunes, longing to dunk my body in the postcard sea. Often, I could go no farther than the water’s edge. Signs pitched by lifeguards along the beach showed a stick figure lashed by a mass of tentacles: Irukandji jellyfish.
By midday, the mercury might have drifted above 100 degrees Fahrenheit, and still no one would dare to even dabble in the shallows of the jade ocean—corduroyed by waves—knowing that Irukandji had been detected. Back from the shoreline, a few tourists resolutely sweated their silhouettes onto beach chairs. If the notices were plucked from the sand in the afternoon, a tense choreography would ensue. Each heat-strained person would approach the surf and make an elaborate pantomime of applying sunscreen or stretching out hamstrings, hoping not to have to be the first to get in.
Kristen Roupenian’s viral New Yorker short story is not an essay—but many have seen it as one.
In fiction-writing—before characters can be developed, before plots can be sketched, before tensions can be introduced, and attendant arcs molded and stretched—the author must first make a series of much more basic decisions: How will the story be told? Who, in the context of the story itself, will tell it? Who will be given a person and a voice within this hermetic little universe? Who will not? Why? Why not? These are the defining cosmological questions of every work of fiction, the ones that will shape everything else that comes to exist in the author’s—and the story’s—manufactured world.
Kristen Roupenian, in “Cat Person,” the New Yorker short story that has been, and continues to be, going viral, selected as her storyteller a classic, third-person omniscient narrator: the Godlike entity, seeing all and telling some. And then Roupenian—the subsidiary, and yet much more complicated decision—focused her narrator’s attentions entirely on the perspective of her protagonist, a 20-year-old college student named Margot. It is from Margot’s perspective—her perspective as filtered through this particular story’s author-God—that Roupenian’s story unfolds: Margot meets a man named Robert, several years her senior, and then successively flirts with him, texts with him, goes on a date with him, sleeps with him, and, finally, breaks up with him.