The third in line to the United Kingdom throne, Prince Harry of Wales, got photographed nude in a Las Vegas hotel room with an unnamed young woman. It's a pretty straightforward royals scandal: behavior just transgressive enough to merit wall-to-wall media coverage, yet harmless enough that we can enjoy it guilt-free. But British readers won't be enjoying the photos in their country's famously raucous newspapers, every single one of which has bowed to the royal palace's request to not publish the pictures.
But this sort of story is such catnip for the British tabloid media, the red-haired personification of its very raîson d'être -- "the media has been enthralled by the love life of the single prince," Reuters explained -- that one of them just couldn't resist. The Sun asked two of its staffers to pose nude, recreating the naked-prince image for the tabloid's cover, which is seen by an estimated 7.6 million daily readers and countless newsstand passers-by.
Standing in for Prince Harry is Sun photo editor Harry Miller -- the tabloid cover cheerily advertises "BANNED PHOTO POSED BY SUN'S OWN HARRY" -- and, as the anonymous young woman, a 21-year-old staffer named Sophie Henderson, whom the paper says is there "on work experience." In case it's not clear what that means, Henderson's LinkedIn page lists her as a Sun fashion intern.
A print-only article in The Sun explains, according to the Guardian, that Miller and Henderson "dropped everything to recreate the Prince's pose -- after the Palace asked us not to print the real Vegas snaps," and were "happy to strip." The paper later issued a statement, signed by Miller and Henderson, stating, "For anyone worried about whether we were forced against our will to strip off, we are pleased to be able to set the record straight. Please be assured, there is no cover-up at Wapping. It was a bit of harmless fun and we were delighted to have played our part in making the readers laugh."
Putting aside the ethical and potentially legal questions about having an intern pose semi-nude for publication, it's hard not to ask why. If The Sun was willing to go to such great trouble, and expose itself to such risk, why not just go ahead and publish the actual photos?
The answer, assuming the stunt itself wasn't the point, may have to do with both the U.K.'s somewhat tighter media restrictions and this particular moment in the British media industry. The royal palace, in asking outlets not to print the photos, firmly suggested doing so could be considered an infringement on Harry's privacy. According to U.K. media law, a photo taken of someone in private without their consent requires a "public interest" justification to run. And the paper has to actively demonstrate as much: "Editors will be expected to justify intrusions into any individual's private life without consent," the law reads.
That "public interest" definition can be broad -- Peter Barron, the editor of a small British paper, explained that the 2005 photos of Harry dressed in a Nazi costume could be justified as evidence of "misjudgment" by a public official -- but probably not broad enough for this one. And the U.K. media appears to be a bit more cautious these days, some say due to the ongoing "Leveson Inquiry" into media ethics and standards, which the government launched in response to the News of the World phone hacking scandal. The Huffington Postcalls this evidence of "a dangerous new climate of fear in the U.K. media." This seems a little strong, but others seem to agree the Leveson Inquiry, along with the public backlash against the News of the World's abuses, has had a "chilling effect" on the typically brash U.K. media.
"With national newspapers reeling from the News International phone-hacking scandal, the implications of the Leveson Inquiry, and a warning from the Palace that there would be a complaint to the [Press Complaints Commission], no one was prepared to take a chance," Barron wrote. "The public mood, fuelled by what the News of the World did, has acted as a deterrent."
It's almost enough to give you hope that maybe, just maybe, the British media has finally learned some restraint, has heard what the A.P. calls the "celebrities, politicians, and crime victims who said their lives had been turned upside down by press intrusion." Until, that is, you see that, for at least this one mega-tabloid, exercising restraint means having an editor and a college-aged intern pose nude together for the cover.
Allegations against the comedian are proof that women are angry, temporarily powerful—and very, very dangerous.
Sexual mores in the West have changed so rapidly over the past 100 years that by the time you reach 50, intimate accounts of commonplace sexual events of the young seem like science fiction: You understand the vocabulary and the sentence structure, but all of the events take place in outer space. You’re just too old.
This was my experience reading the account of one young woman’s alleged sexual encounter with Aziz Ansari, published by the website Babe this weekend. The world in which it constituted an episode of sexual assault was so far from my own two experiences of near date rape (which took place, respectively, during the Carter and Reagan administrations, roughly between the kidnapping of the Iran hostages and the start of the Falklands War) that I just couldn’t pick up the tune. But, like the recent New Yorker story “Cat Person”—about a soulless and disappointing hookup between two people who mostly knew each other through texts—the account has proved deeply resonant and meaningful to a great number of young women, who have responded in large numbers on social media, saying that it is frighteningly and infuriatingly similar to crushing experiences of their own. It is therefore worth reading and, in its way, is an important contribution to the present conversation.
President Trump is the embodiment of over 50 years of resistance to the policies Martin Luther King Jr. fought to enact.
On April 4, 1968, Martin Luther King Jr. was assassinated. In response, a week later President Lyndon B. Johnson scrambled to sign into law the Fair Housing Act, a final major civil-rights bill that had languished for years under the strain of white backlash to the civil-rights movement.
Five years later a New York developer and his son—then only a few years out of college—became two of the first targets of a massive Department of Justice probe for an alleged violation of that landmark act. After a protracted, bitter lawsuit, facing a mountain of allegations that the two had engaged in segregating units and denying applications of black and Puerto Rican applicants, in 1975 Trump Management settled with the federal government and accepted the terms of a consent decree prohibiting discrimination. So entered Donald Trump onto the American stage.
The Supreme Court faces a test of the authority of politicians to use police to silence their critics.
If a citizen speaks at a public meeting and says something a politician doesn’t like, can the citizen be arrested, cuffed, and carted off to the hoosegow?
Suppose that, during this fraught encounter, the citizen violates some law—even by accident, even one no one has ever heard of, even one dug up after the fact—does that make her arrest constitutional?
Deyshia Hargrave, meet Fane Lozman. You need to follow his case.
Hargrave is a language arts teacher in Kaplan, Louisana. She was arrested Monday after she questioned school-district policy during public comment at a school board meeting.
She asked why the superintendent of schools was receiving a five-figure raise when local teachers had not had a permanent pay increase in a decade. As she was speaking, the school-board president slammed his gavel, and a police officer told her to leave. She left, but once she went into the hall, the officer took her to the ground, handcuffed her, and arrested her for “remaining after having been forbidden” and “resisting an officer.”
This isn’t the first moment astrology’s had and it won’t be the last. The practice has been around in various forms for thousands of years. More recently, the New Age movement of the 1960s and ’70s came with a heaping helping of the zodiac. (Some also refer to the New Age as the “Age of Aquarius”—the 2,000-year period after the Earth is said to move into the Aquarius sign.)
In the decades after Hernán Cortés invaded Mexico, one of the worst epidemics in human history swept through the new Spanish colony. A mysterious disease called “cocolitzli” appeared first in 1545 and then again in 1576, each time killing millions of the native population. “From morning to sunset,” wrote a Franciscan friar who witness the epidemic, “the priests did nothing else but carry the dead bodies and throw them into the ditches.”
In less than a century, the number of people living in Mexico fell from an estimated 20 million to 2 million. “It’s a massive population loss. Really, it’s impressive,” says Rodolfo Acuña-Soto, an epidemiologist at the National Autonomous University of Mexico. What can even kill so many people so quickly?
Writers of The Atlantic reflect on President Donald Trump’s claim that he is “the least racist” subject.
President Donald Trump briefly took questions from reporters at the Trump International Golf Club in West Palm Beach, Florida, on Sunday. A White House transcript shows the following exchange:
Reporter: What is your response to people who say you are a racist?
Trump: No, no, I’m not a racist. I am the least racist person you have ever interviewed, that I can tell you.
We at The Atlantic have a big room filled with experienced reporters. So we decided to ask some of them, Who was the least racist person you’ve ever interviewed? It is fair to say that none of the people identified as least-racist by our participants seemed to share many personality characteristics with the 45th president.
I don’t think of ‘racism’ as being a relative, scalar quality, like height or weight. Everyone has a certain racial identity; the luxury of being part of a majority racial group in any given country is not having to pay much attention to your racial ID. As a white person in America, the racial part of who I am is not at the forefront of my mind. But when I lived in Japan I could never be unaware of it.
John Hughes’s coming-of-age classic feels dated in retrospect, but the film paved the way for more character-focused teen stories.
When John Singleton—the groundbreaking filmmaker behind movies like Boyz n the Hood, and the first African American to get a Best Director Oscar nomination—first saw The Breakfast Club in 1985, he was reviewing it for his high-school newspaper. “The various characters were teenage archetypes, but they were rooted in genuine human problems,” he later said. “I didn’t feel alienated by the fact that they were all white kids. They were just teens finding their way into adulthood—like I was.”
Six years later, Singleton made Boyz n the Hood, a teen drama about growing up in South Central Los Angeles; he cites the Breakfast Club writer-director John Hughes as a major influence. “He gave me a template,” Singleton has said, according to David Kamp’s essay in the new Criterion Collection release of the movie, which came out this month. Watching Hughes’s foundational tale of adolescent angst more than 30 years on, it’s easy to be put off by the homogeneity and privilege of its main characters: five suburban white kids in Chicago who spend the entire film fretting over their social status, overbearing parents, and existential fears. But The Breakfast Club undeniably laid the foundation for a whole new kind of teen drama—one motivated less by plot, and more by mood.
More comfortable online than out partying, post-Millennials are safer, physically, than adolescents have ever been. But they’re on the brink of a mental-health crisis.
One day last summer, around noon, I called Athena, a 13-year-old who lives in Houston, Texas. She answered her phone—she’s had an iPhone since she was 11—sounding as if she’d just woken up. We chatted about her favorite songs and TV shows, and I asked her what she likes to do with her friends. “We go to the mall,” she said. “Do your parents drop you off?,” I asked, recalling my own middle-school days, in the 1980s, when I’d enjoy a few parent-free hours shopping with my friends. “No—I go with my family,” she replied. “We’ll go with my mom and brothers and walk a little behind them. I just have to tell my mom where we’re going. I have to check in every hour or every 30 minutes.”
Those mall trips are infrequent—about once a month. More often, Athena and her friends spend time together on their phones, unchaperoned. Unlike the teens of my generation, who might have spent an evening tying up the family landline with gossip, they talk on Snapchat, the smartphone app that allows users to send pictures and videos that quickly disappear. They make sure to keep up their Snapstreaks, which show how many days in a row they have Snapchatted with each other. Sometimes they save screenshots of particularly ridiculous pictures of friends. “It’s good blackmail,” Athena said. (Because she’s a minor, I’m not using her real name.) She told me she’d spent most of the summer hanging out alone in her room with her phone. That’s just the way her generation is, she said. “We didn’t have a choice to know any life without iPads or iPhones. I think we like our phones more than we like actual people.”
Emma Lazarus’s Petrarchan sonnet is an awkward vehicle for defenses of American greatness—perhaps because so many of those who quote it miss its true meaning.
The words of Emma Lazarus’s famous 1883 sonnet “The New Colossus” have seemed more visible since Donald Trump’s election. They can be found on the news and on posters, in tweets and in the streets. Lines 10 and 11 of the poem are quoted with the most frequency—“Give me your tired, your poor,/ Your huddled masses yearning to breathe free”—and often by those aiming to highlight a contrast between Lazarus’s humanitarian vision of the nation and the president’s racist rhetoric.
After reports that Trump had described Haiti, El Salvador, and African nations as “shithole countries,” the former FBI director James Comey tweeted a bit of the sonnet, along with his interpretation of its meaning:
“Give me your tired, your poor, your huddled masses yearning to breathe free, the wretched refuse of your teeming shore. Send these, the homeless, tempest-tossed to me, I lift my lamp beside the golden door!” This country’s greatness and true genius lies in its diversity.
Empathy makes you better at cocktail parties—and at life.
In a touching Medium post a few days ago, the writer and programmer Paul Ford shared what he thinks is the secret to his politeness. In conversations with new acquaintances, Ford asks plenty of questions and lets the other person do the talking. He tries not to ask what they do for a living, but if it comes to that, he responds to their job description—whatever it is—with, “Wow. That sounds hard.”
“Nearly everyone in the world believes their job to be difficult,” he writes. He describes how this process once worked with a woman whose work is not something most people would consider taxing:
I once went to a party and met a very beautiful woman whose job was to help celebrities wear Harry Winston jewelry. I could tell that she was disappointed to be introduced to this rumpled giant in an off-brand shirt, but when I told her that her job sounded difficult to me she brightened and spoke for 30 straight minutes about sapphires and Jessica Simpson.