Zomi Frankcom did not deserve to die. Israel’s refusal to investigate her death and its failure to apologise is despicable Geoffrey Robertson (www.theguardian.com)
The buzziest hedge fund launch this year is ex-Sequoia investor Jeff Wang''s. Here''s who it''s hired and how much it''s raised. (www.businessinsider.com)
Is the Smithsonian Really Trying to Destroy America? - Trump claims that the institution has fallen into the hands of Marxist radicals. A stroll through the exhibitions suggests otherwise. (www.newyorker.com)
A “12 Inch Pianist” Walks Into a Bar - Lucas Ansel’s stop-motion short reveals a few fellow-drinkers’ deepest desires in this reimagined Shouts & Murmurs classic. (www.newyorker.com)
After Six Months of War, Trump Is Still Losing to Iran - The conflict marks a “precipitous collapse of American power and American prestige.” (www.newyorker.com)
The Podcast That’s Charting a Post-Trump Future - “America, Actually,” a new offering from Vox, is trying to talk about politics without talking about the President. Is that even possible? (www.newyorker.com)
What Your Swimwear Says About You - Yellow polka-dot bikini: you were deeply affected by a Yoplait Light commercial as a youth and consider this suit to be the physical manifestation of confidence. (www.newyorker.com)
“Every Weekday at 4:45 P.M.,” by Libby Flores - In the delicious heat, a summer breeze came and they fought as the woman sucked her ice cream through the bottom of her cone. (www.newyorker.com)
Critics’ Cult Classics: Emily Nussbaum on “Slings & Arrows” - The New Yorker writer sings the praises of a little-known Canadian television series set at a Shakespeare festival—which happens to be her favorite show of all time. (www.newyorker.com)
The Shifting Meaning of “Moderate” - Political labels can be useful shorthand. But some doubt how much they tell us about what draws voters to candidates. (www.newyorker.com)
The Real Meaning of the Jason Arday Scandal - In a young Black professor’s academic misconduct, a “race-realist” found a “hook for a story.” (www.newyorker.com)
The Glorious Disorder of Michael Ondaatje’s Early Work - For writers like me, who had crossed borders to arrive in the West, Ondaatje’s disregard for established boundaries taught us how to spell out our own liberation. (www.newyorker.com)
The Mark of the Machine - Few forces have proved as powerful at tempering A.I. use as public shaming has. Now Anthropic is making it even easier to determine if text was generated by Claude. (www.newyorker.com)
“Dreams in Nightmares” Turns the Art Life Political - Struggles for personal and creative freedom fuel Shatara Michelle Ford’s second feature, about three women’s search for a friend gone missing. (www.newyorker.com)
How I Became a Subaru Socialist - By the time Bernie Sanders ran for President, in 2015, I was financially secure. But the previous decade had left a mark. (www.newyorker.com)
Nayib Bukele’s Content Machine Is Reshaping Latin America - How El Salvador’s authoritarian leader loomed over Colombia’s Presidential race. (www.newyorker.com)
Everything That Will Happen After I Silence My Phone at the Movie Theatre - The customer-service representative from whom I’ve been waiting for a callback for fifty-three hours will call me back one minute before I turn my phone back on. (www.newyorker.com)
“The End of Oak Street” Is a Weirdly Alienated Jurassic Lark - In David Robert Mitchell’s film, starring Anne Hathaway and Ewan McGregor, a family is endangered not only by dinosaurs but also by the director’s penchant for Spielbergian nostalgia. (www.newyorker.com)