september 1998

President Donald Trump’s October decision to withdraw U.S. troops from Syria produced a rare moment of bipartisanship in foreign policy. With a shared sense of alarm, Republicans and Democrats alike accused Trump of betrayal.

Certainly, it was a betrayal of the Kurdish partners who bled for us in the fight against the Islamic State. It was also a betrayal of process—leaving our military leaders and diplomats struggling to keep up with tweets, our allies in the dark, our messaging all over the map, and chaos on the ground.

If all this episode engenders, however, is a bipartisan dip in the warm waters of self-righteous criticism, it will be a tragedy—or worse, a mistake. We have to come to grips with the deeper and more consequential betrayal of common sense—the notion that the only antidote to Trump’s fumbling attempts to disentangle the United States from the region is a retreat to the magical thinking that has animated so much of America’s moment in the Middle East since the end of the Cold War.

I served as a career diplomat throughout most of this era, sharing in our successes as well as our failures. Despite important achievements, we all too often misread regional currents and mismatched ends and means. In our episodic missionary zeal, especially after the terrible jolt to our system on 9/11, we tended to overreach militarily and underinvest diplomatically. We let our ambitions outstrip the practical possibilities of a region where perfect is rarely on the menu, and second- and third-order consequences are rarely uplifting. The temptations of magical thinking, the persistent tendency to assume too much about our influence and too little about the obstacles in our path and the agency of other actors, led to indiscipline and disappointments—steadily diminishing the appetite of most Americans for Middle East adventures.

That leaves American policy at a crossroads. Our moment as the singular dominant outside player in the Middle East has faded, but we still have a solid hand to play. The key to playing it well will be neither restoration of the inflated ambition and over-militarization of much of the post-9/11 period nor sweeping disengagement. Instead, we need a significant shift in the terms of our engagement in the region—lowering our expectations for transformation, ending our habit of indulging the worst instincts of our partners and engaging in cosmic confrontation with state adversaries, finding a more focused and sustainable approach to counterterrorism, and putting more emphasis on diplomacy backed up by military leverage, instead of the other way around.

Images above: A protestor holding a sign that reads “Abortion Is Freedom” and protestors holding anti-abortion signs

In 1956, two American physicians, J. A. Presley and W. E. Brown, colleagues at the University of Arkansas School of Medicine, decided that four recent admissions to their hospital were significant enough to warrant a published report. “Lysol-Induced Criminal Abortion” appeared in the journal Obstetrics & Gynecology. It describes four women who were admitted to the hospital in extreme distress, all of them having had “criminal abortions” with what the doctors believed to be an unusual agent: Lysol. The powerful cleaner had been pumped into their wombs. Three of them survived, and one of them died.

Last May, in the weeks leading up to his presidential inauguration, Volodymyr Zelensky learned that a man named Rudy Giuliani wanted to meet with him. The name was only distantly familiar. But the former mayor of New York City was the personal attorney of the president of the United States, and he apparently wanted to make the case that certain investigations deserved the full attention of the new Ukrainian administration. Zelensky understood that it might be hard to say no.

Zelensky had won his country’s highest office despite having been a politician for little more than four months. Even as he prepared to assume the presidency, he remained a professional comedian and a fixture on television shows, including League of Laughter. Unsure of whether he should agree to meet Giuliani, Zelensky gathered advisers in the headquarters of his entertainment company.

The internet has some feedback on Peloton’s holiday ad campaign. The fitness-tech company, famous for its $2,400, Wi-Fi-enabled stationary bikes that let riders stream spin classes, debuted a new television commercial in mid-November, but it didn’t become infamous until earlier this week, when Twitter got ahold of it.

In the ad, a young mom gains confidence in the year after her husband buys her a Peloton for Christmas—or, at least, that’s what the ad seems to be aiming for. The commercial documents the woman (who is also documenting herself, via her phone’s front-facing camera) while she gets up early day after day to exercise or jumps on the bike after work. At the end, she presents the video of her exercise journey to her husband. “A year ago, I didn’t realize how much this would change me,” she tells him. “Thank you.”

Juice Wrld’s star power was both very special and very familiar in music history. To borrow the title of one punk album that the rapper (born Jarad Anthony Higgins) could have had in rotation, he sang the sorrow. When his breakout single, “Lucid Dreams,” hit No. 2 on the Billboard Hot 100 in 2018, it marked him as one of the young leaders of the influential “emo rap” wave. Trembling instability abounded in the song’s guitar sample, along with a seasick chorus and lyrics deconstructing heartbreak in anxious detail. But there was a tidiness to its construction. It made a bummer into something not only manageable but strangely uplifting.

The 21-year-old Higgins died this morning after an apparent seizure at Chicago’s Midway Airport, cutting short a hugely promising career and robbing a generation of one of its most fervently followed new icons. In quick time, he offered up a trove of songs just as catchy, just as hypnotic, and just as himself as “Lucid Dreams” was. For all his brooding, the Chicagoan radiated geeky charisma with anime shout-outs and a video-game-themed album cover. In his vocal inflections and production choices, he called back to popular goth rock of the 2000s such as My Chemical Romance. His heartbroken, death-obsessed lyrics did that too, but amid rap-typical descriptions of drugs and sex. The results portrayed existential crises as concrete, lived-in things.