World
Owen Smith’s “Alexei Navalny”
The cover of the October 21, 2024, issue, by Owen Smith, is a portrait of Alexei Navalny, an excerpt of whose prison diaries appears in the issue. Navalny details...
The Mordant Intimacy of Cécile Desprairies’s “The Propagandist”
Years ago, a man who was then my fiancé gave me a mourning ring, inscribed with the name and dates of birth and death of a Frenchwoman who lived...
The Rise and Fall of Vince McMahon
Something’s bugging me about the way political happenings unfold these days. How do we—all of us who, during the past decade or so, have been baptized in the waters...
The Press-on-Nail Renaissance
Perhaps befitting a group of Irishmen who opened their pandemic breakthrough album, “A Hero’s Death,” with a song featuring the declarative couplet “I don’t belong to anyone / I...
“Anora” Is a Strip-Club Cinderella Story—and a Farce to Be Reckoned With
Earlier this year, the Cannes Film Festival observed a heroic first: the director who won the Palme d’Or, the event’s highest honor, dedicated the prize to “all sex workers,...
“The Apprentice,” Reviewed: The Immoral Makings of Donald Trump
The one element of movie art that “The Apprentice” spotlights is acting. A dramatization of Donald Trump’s rise to prominence in the nineteen-seventies and eighties, the film features a...
Mar-a-Lago Calling Moscow
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Four-Hundred-Plus Pages and a Day
In a new graphic novel, the petty and tedious appear magical and strangely beautiful. Source link
Sarah Smarsh on Capturing the Richness of Working-Class America
The journalist Sarah Smarsh grew up on a farm in rural Kansas, in “the sort of poverty that qualifies for welfare, though my proud family didn’t apply.” Her writing...
Taylor Lorenz’s Plan to Dance on Legacy Media’s Grave
During the past decade, the journalist Taylor Lorenz has been known for writing about Internet influencers from within legacy media, translating the arcane laws of online virality for the...
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