David Brooks, “One Nation, Slightly Divisible”; Robert D. Kaplan, “Looking the World in the Eye”; Penny Wolfson, “Moonrise”; William Langewiesche, “Storm Island”; Marshall Jon Fisher, “Pixels at an Exhibition”; fiction by Lesley Dormen; Mona Simpson on Alice Munro; and much more.
Samuel Huntington is a mild-mannered man whose sharp opinions—about the collision of Islam and the West, about the role of the military in a liberal society, about what separates countries that work from countries that don't—have proved to be as prescient as they have been controversial. Huntington has been ridiculed and vilified, but in the decades ahead his view of the world will be the way it really looks
A distinguished jurist advises us to calm down about the probable curtailing of some personal freedoms in the months ahead. As a nation we've treated certain civil liberties as malleable, when necessary, from the start
Even before the September 11 attacks heightened our fears of bio-terrorism, a biologist came up with a sensible strategy for coping with one of the most fearsome possibilities
Pentagon mavericks have been trying for decades to reorient military strategy toward a new kind of threat—the kind we're suddenly facing in the war on terrorism. Now that we've got the war they predicted, will we get the reforms they've been pushing for?
The electoral map of the 2000 presidential race became famous: big blocks of red (denoting states that went for Bush) stretched across the heartland, with brackets of blue (denoting states for Gore) along the coasts. Our Blue America correspondent has ventured repeatedly into Red territory. He asks the question—after September 11, a pressing one—Do our differences effectively split us into two nations, or are they just cracks in a still-united whole?
Approximately half of the luxury-condo units that have come onto the market in the past five years are still unsold.
In Manhattan, the homeless shelters are full, and the luxury skyscrapers are vacant.
Such is the tale of two cities within America’s largest metro. Even as 80,000 people sleep in New York City’s shelters or on its streets, Manhattan residents have watched skinny condominium skyscrapers rise across the island. These colossal stalagmites initially transformed not only the city’s skyline but also the real-estate market for new homes. From 2011 to 2019, the average price of a newly listed condo in New York soared from $1.15 million to $3.77 million.
But the bust is upon us. Today, nearly half of the Manhattan luxury-condo units that have come onto the market in the past five years are still unsold, according to The New York Times.
Somewhere near the heart of the Ukraine scandal is the oligarch Dmytro Firtash. Evidence has long suggested this fact. But over the past week, in a televised interview and in documents he supplied to Congress, Rudy Giuliani’s former business partner Lev Parnas pointed his finger at the Ukrainian oligarch. According to Parnas, Giuliani’s team had a deal with Firtash. Giuliani would get the Justice Department to drop its attempt to extradite the oligarch on bribery charges. In return, according to Parnas, the oligarch promised to pass along evidence that would supposedly discredit both Joe Biden and Robert Mueller.
Parnas’s account, of course, is hardly definitive. Throughout his career, he has attempted to inflate his importance to make money. (Firtash apparently paid him $1 million for his services, though it’s still not totally clear what those services were.) And his description of Firtash’s involvement raises as many questions as it settles. Still, the apparent centrality of Firtash should inform any assessment of Giuliani’s escapades and the entire Ukraine story.
As a black American woman married to a member of Britain’s upper class, I have caught just a glimpse of Meghan Markle’s world.
The world Meghan Markle entered when she married Prince Harry is unlike any other. But, as a black American woman married to a member of Britain’s upper class, I have caught just a glimpse of it, from a roughly similar perspective.
For a while I lived in London and, through the man who would become my husband, I was introduced to some of the ancient class dynamics that permeate British society. He went to Eton, the elite boys’ boarding school attended by Prince William, Prince Harry, and many prime ministers.
Once, I went with him to the christening of an old classmate’s child. At the event, I sat across from David Cameron, an Old Etonian—or OE, as Eton’s former students are called—who was then the Tory party leader. His wife and my partner were both godparents to the new baby. If I were British, the christening and subsequent lunch with a gaggle of OEs and their equally posh wives would likely have made me nervous, angry, and uncomfortable. But I was somewhat insulated by the fact that, as an outsider, I didn’t have negative associations—or really any associations—with their traditions and ways of expressing themselves.
The streaming service has turned the star’s controversial e-commerce brand into a series. Soft-lit chaos ensues.
In an episode of the new Netflix series The Goop Lab, a young woman, Ana, gets a reading from the psychic medium Laura Lynne Jackson. Things do not go well. Jackson tells Ana, a Goop employee who is skeptical about clairvoyance, that she senses a twin in her family. Ana can’t think of any twins. “I have a female figure coming in, and I feel like it’s your grandmother’s sister,” Jackson says. “My grandmother didn’t have a sister,” Ana replies. Jackson asks whether Ana might be planning a trip to Mexico. (No.) “Is there, like, a funny story or a picture about a donkey? Or is there something with Shrek?” (Also no.) The reading, staged for the show’s cameras, quickly spirals from gauzy mysticism to blunt awkwardness. Even Ana seems surprised at how correct she was to distrust the premise of the exercise—which is also, as it happens, the premise of Goop as a lifestyle brand: that the physical world is, to some extent, a faith-based initiative.
Every year, plenty of excellent films are excluded from the awards-season conversation for reasons that have nothing to do with talent or artistry. This year is no different.
“Who will be interested in a story of domestic struggles and joys? It doesn’t have any real importance,” says Jo March (played by Saoirse Ronan) in a scene near the end of 2019’s Little Women, fearing that no one will want to read the book she’s writing about her family. “Maybe we don’t see those things as important because people don’t write about them,” her sister Amy (Florence Pugh) replies. The question of what art gets to be lionized and revered is one that Little Women’s writer and director, Greta Gerwig, fixated on when adapting the work for the big screen.
Analyzing her own screenplay in Vanity Fair, Gerwig said that while she worried this exchange between Jo and Amy would be too on the nose—it’s one of the only elements she didn’t borrow from the book or from author Louisa May Alcott’s other writing—she decided to include it. “I still think we very much have a hierarchy of stories,” Gerwig said. “I think that the top of the hierarchy is male violence—man on man, man on woman, etc. I think if you look at the books and films and stories that we consider to be ‘important,’ that is a common theme, either explicitly or implicitly.”
