Hippies Wander Into the Lions' Den, Maul Lions

A woman and man sitting far apart on a bench — Photodisc / Getty

Why More Young Married Couples Are Keeping Separate Bank Accounts

Caroline Kitchener

It doesn’t signal a lack of trust—to some, it’s a way for spouses to show they trust each other more.

A joint bank account has, traditionally, been a sign of commitment. As newlyweds start their lives together, it is perhaps the clearest way for them to say, to each other and to the world, “What’s mine is yours, and what’s yours is mine.”

But these days, some young couples are skeptical. “There has been a generational change,” said Joanna Pepin, a doctoral candidate at the University of Maryland who studies the organization of money in romantic relationships. “The research we have shows that, cross-culturally, more people are keeping money separate.” Indeed, a Bank of America study published earlier this year seemed to suggest that Millennial married and cohabitating couples were more likely to hold separate accounts than previous generations were.

The Reinvention of America

James Fallows

Americans don’t realize how fast the country is moving toward becoming a better version of itself.

I have seen the future, and it is in the United States.

After a several-year immersion in parts of the country that make the news mainly after a natural disaster or a shooting, or for follow-up stories on how the Donald Trump voters of 2016 now feel about Trump, I have a journalistic impulse similar to the one that dominated my years of living in China. That is the desire to tell people how much more is going on, in places they had barely thought about or even heard of, than they might have imagined.

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In the case of China, that impulse matched the mood of the times. In the years before and after the world financial crisis of 2008, everyone knew that China was on the way up; reporters like me were just filling in the details. In the case of the modern United States, I am well aware that this message runs so counter to prevailing emotions and ideas as to seem preposterous. Everyone knows how genuinely troubled the United States is at the level of national politics and governance. It is natural to assume that these disorders must reflect a deeper rot across the country. And indeed, you can’t travel extensively through today’s America, as my wife, Deb, and I have been doing in recent years, without being exposed to signs of rot, from opioid addiction to calcifying class barriers.

How Gabriel García Márquez Created a World in a Sentence

Joe Fassler

The novelist Mary Morris explains how the opening line of One Hundred Years of Solitude shaped her path as a writer.

By Heart is a series in which authors share and discuss their all-time favorite passages in literature. See entries from Colum McCann, George Saunders, Emma Donoghue, Michael Chabon, and more.

When I was her student at the Iowa Writers’ Workshop, the novelist Marilynne Robinson told our class it was almost unthinkable for women of her generation to become writers. Society afforded women with an extremely limited range of opportunity: You could be a teacher, nurse, or homemaker, she said, and that was about it. Other paths—especially professionalized, artistic ones—were possible, but extremely hard-won.

That was the challenge facing Mary Morris, author of Gateway to the Moon, after she dropped out of grad school in the 1970s. For years, she’d worked in secret, living a kind of creative double life—writing constantly, but never sure she was really a writer. No one ever told her how the verb might earn the noun.

The Handmaid's Tale and the Suffering of Women

Sophie Gilbert

In entertainment, when does empathy become exploitation?

The most chilling scene in the early new episodes of The Handmaid’s Tale comes when a 15-year-old Econowife, Eden (Sydney Sweeney), shyly tells June (Elisabeth Moss) that her new husband refuses to lie with her. June gently explains that she should be patient, that the strangeness of the arranged marriage is hard for her husband, too. “I can’t wait,” Eden replies. “It’s our duty to God.” Then her face hardens. “What if I don’t? What if he can’t?” She wonders if her husband is a “gender traitor,” a crime that carries a death sentence in the theocratic Republic of Gilead.

During the scene, the camera lingers—as it tends to do in The Handmaid’s Tale—on Moss’s face. The shock for the viewer comes as June processes what Eden has said, and what it implies. June’s affect beforehand is sisterly, treating the teenager with a gentle kind of authority. But over the space of a few seconds she realizes how dangerous Eden is—that her devotion to Gilead’s regime could spur a man’s execution in a heartbeat. The moment is quietly terrifying; its menace comes from what isn’t shown or said, but what’s left to viewers to imagine.

John Bolton holding a legal pad — Susan Walsh / AP

The Iran Regime-Change Crew Is Back

Vali Nasr

That probably spells doom for the nuclear deal.

Among the most strident critics of the nuclear deal with Iran are those who believe it furthers the survival of its leadership. By throwing Iran’s rulers an economic lifeline, they believe, the deal is an abject failure. America’s goal, they say, should never have been “denuclearization,” but regime change.

These days, those regime-change evangelists, having shrugged off the lessons of the Iraq War, are back at the helm of U.S. foreign policy. John Bolton, Donald Trump’s new national-security adviser, has long advocated regime change in Iran, and more recently has argued that the administration should openly embrace it as a foreign-policy goal. At the same time, Bolton and his ilk are pushing for a denuclearization deal with North Korea ahead of Trump’s planned summit with Kim Jong Un, the country’s leader. Preparations for the meeting will likely be in full swing by May 12, the next deadline for extending the Iran deal. The Trump administration, in other words, could find itself in the odd situation of tearing down the nuclear deal with Iran while pursuing a similar deal with North Korea.

The Hardest Job in the World

John Dickerson

What if the problem isn’t the president—it’s the presidency?

I. A Broken Office

Donald Trump often appears to be a president in rebellion against his office. A president, we have come to expect, hastens to the scene of a natural disaster to comfort the afflicted. After Hurricane Maria devastated Puerto Rico, President Trump arrived tardily and behaved unseriously, tossing rolls of paper towels at storm-battered residents as if he were trying to drain three-point shots.

We have come to expect that when the national fabric rends, the president will administer needle and thread, or at least reach for the sewing box of unity. After white supremacists marched through Charlottesville, Virginia, shouting “Jews will not replace us,” President Trump’s instinct was to emphasize that there were good people among the neo-Nazis.

When Beauty Is a Troll

Megan Garber

The peppy mixed messaging of I Feel Pretty is only the latest reminder: American culture doesn’t fully know what it’s talking about when it talks about attractiveness.

Every once in a while I’ll rewatch an old episode of Friends, because it’s familiar and soothing and there. The other day, Netflix served up one of those flashbacks the show would sometimes air to poke light fun at the friends and at the visual absurdities involved with being alive in the ’80s: Rachel in chintz, Ross and Chandler in tragicomic Flock of Seagulls bouffants, etc. Watching the meta-nostalgia, I was reminded of the existence of a minor character who nonetheless plays a major role in the show’s universe: Fat Monica.

Fat Monica is technically just a younger—and slightly larger—version of Standard Issue Monica; what becomes wincingly clear, though, as the Friends flashbacks play out, is that Fat Monica differs from the other Monica not just in scale, but in kind. Padded by her former girth, Monica Geller—the person who categorizes her hand towels and designates committees for the planning of birthday parties and is, in general, in thorough control of her life and her Type A-tastic self—undergoes a transformation: Her voice gets higher. Her movements become jerking and awkward. She giggles a lot, uncomfortably. Remember when, in those late-series episodes of Family Matters, Steve Urkel would go into that flashing box and emerge as the suave Stefan Urquelle? Fat Monica’s metamorphosis is a little like that, but in reverse: The transformation depletes her dignity rather than compounding it. She becomes bashful. Childish. Foolish. Watching the proceedings, you start to wonder whether Monica Geller, for the purposes of the flashback scenes, was given a fat suit or a lobotomy.

Why We Sleep Together

Jon Methven

A long time ago, beds were expensive—but there's more to it than that.

With a guest in town occupying the second bedroom of our Manhattan apartment, my three-year-old son, a notorious sideways sleeper, bunked with my pregnant wife and me. Too many snores and little feet in the back of my neck, I relocated to the sofa, where I was blessed with the best night’s sleep I’ve had in months.

As a self-diagnosed insomniac, a good night’s rest for me lasts anywhere from three to five hours. I generally break up the slumber with walks around the apartment, followed by lying awake and unearthing inconsequential paranoia that, come morning, will not live up to the hype. When I hear people claim they get eight hours of sleep each night, they might as well be talking about the Loch Ness Monster, or alien life. All three are things I suppose it’s possible someone may have encountered, but I cannot personally confirm their existence.

Dear Therapist: My Partner Wants Me to Cut Ties With My Friends

Lori Gottlieb

I appreciate them. He doesn't accept them. How can I make everyone happy?

Dear Therapist,

My partner has a strong tendency to see everyone else’s behavior in black or white. People are either saintly and wonderful or diabolical and dangerous, and the switch between the two can be lightning fast. I understand this is coming from his past—he comes from an emotionally abusive home. After much gentle nudging, he’s now been in therapy for over a year and I can see the results slowly emerging.

Meanwhile, I try my best not to react to his judgments, though they cause havoc with our friendships. He insists that when he writes someone off for an infraction that he sees as unforgivable (but that I probably didn't even notice, or brushed off as an everyday misunderstanding), I should support him by also cutting ties. In our early days I complied, but after a while I could see how much it was affecting my life.

A still from Marvel's 'Avengers: Infinity War' — Disney / Marvel Studios

How Marvel Is Rewriting Its World Order

David Sims

Ahead of Avengers: Infinity War, the extended cinematic universe has been sweeping away its status quo—and questioning the very nature of superheroism.

In 1986, the famed comic-book creator Frank Miller wrote a seven-part story for Daredevil called “Born Again,” a dark tale of betrayal and redemption that helped usher in the gritty modern age of the medium. Though Miller’s recent turn toward more extreme politics in his work has alienated many fans, his influence in the mid-’80s was crucial to the evolution of mainstream comics. Near the end of “Born Again,” Daredevil, the costumed protector of Hell’s Kitchen, fights a villain named Nuke, whose powers are cataclysmic enough that more epic heroes have to get involved: the Avengers, represented by their best-known members, Captain America, Iron Man, and Thor.

The artist David Mazzucchelli draws those three heroes in mythic fashion, with Captain America cradling an injured child in his arms, Thor silhouetted against the storm he has summoned, and Iron Man standing like an immovable sentry, collectively commanding Daredevil to back off. They’re powerful, but entirely inhuman—gods among men who are worlds removed from a street-level hero like Daredevil. With this scene, their grandeur had transmuted from something that was previously soapy and colorful to something remote and frightening. It was a clear sign of a necessary shift in comic-book storytelling, one that no longer easily assumed might made right.