Despite warnings from the U.S., Pakistan, Egypt and Turkey, Iran-backed Houthis target world's largest oil company near Goldman Sachs in Saudi Arabia (news.google.com)
Despite warnings from the U.S., Pakistan, Egypt and Turkey, Iran-backed Houthis target world's largest oil company near Goldman Sachs in Saudi Arabia (news.google.com)
What Jensen Huang’s Affair Means for Nvidia - What did Huang—and the Trump Administration—know about the alleged Chinese spy he was involved with? (www.newyorker.com)
What Is Biography For? - In “Transcendence for Beginners,” the philosopher Clare Carlisle suggests that any life, even an ordinary one, is a portal to divinity. (www.newyorker.com)
Gifts for Discerning Design Lovers - Everyday objects that are utilitarian, durable, minimalist, and aesthetic—and likely to sell out. (www.newyorker.com)
Changing Our Relationship to Technology Will Require Collective Action - Many of us are making individual efforts to use our phones less, or to avoid A.I. But we will need to work together. (www.newyorker.com)
Why Russia and Ukraine Keep Resisting Trump’s Art of the Deal - The White House is leading a new round of negotiations this week to end the war, but all sides remain deeply at odds. (www.newyorker.com)
Hilary Knight Is Rawther Beloved - At the hundredth-birthday party of the illustrator of the “Eloise” books, testimonials poured in from such pals as Bernadette Peters, Anderson Cooper, and the reputed inspiration for Eloise herself, Liza Minnelli. (www.newyorker.com)
John Cusack Goes Graphic - At the comic-book store Forbidden Planet, the “Say Anything” actor talks about his new graphic novel, in which the philosopher-artist Antonin Artaud is freed from an asylum by Jackie Gleason. (www.newyorker.com)
What It Takes to Save a Town from Wildfire - Catastrophic blazes are exposing the limits of individual precautions. Can communities build a system of collective defense? (www.newyorker.com)
The Lasting Influence of John Berger - His TV series “Ways of Seeing” popularized a Marxist view of art and made him a star. In his centennial year, his wide-ranging output continues to inspire and infuriate. (www.newyorker.com)
After the War, They Turned the Cameras on Themselves, in “Allies in Exile” - Displaced by war, two Syrian filmmakers, Hasan Kattan and Fadi al-Halabi, document their wait for asylum in the U.K., forging a friendship through storytelling amid rising anti-immigrant protests. (www.newyorker.com)
The Ubiquitous Melancholy of Max Richter - The composer’s song “On the Nature of Daylight” has popped up in countless sob fests including “Arrival” and “Hamnet.” With billions of streams, he’s become one of the most popular and successful composers of our time. (www.newyorker.com)
The Death Knell of Digital Search - Companies such as Google used to be our portals to the rest of the web. Can the internet as we know it can survive when A.I. answers all of our questions? (www.newyorker.com)
Josh Homme Likes to Satan - On the heels of a new album from the rock band Queens of the Stone Age, the group’s front man spends some quality time with Linda Blair’s “Exorcist” character. (www.newyorker.com)
The Unfinished Business of American Socialism - The movement has often seen its ideas flourish as its organizations withered. Will today’s resurgence follow the same course? (www.newyorker.com)
The Long-Awaited Rise of Tinashe - After more than a decade of niche popularity, the singer released “Popstar”—an album whose title was a self-fulfilling prophecy. (www.newyorker.com)
“The Death of a Certain Woman,” by Yasushi Inoue - Every child in the village knew about Omitsu and had learned the unfamiliar word “mistress.” (www.newyorker.com)
An N.B.A. Player Got Hooked on Sports Betting. Soon, He Became the Bet - Jontay Porter got deep into FanDuel, and in debt to the wrong people. The only way out, it seemed, was to gamble on himself. (www.newyorker.com)
How Takashi Yamazaki Brought Godzilla Back to Life - In 2024, the Japanese director’s revival of the famed saga won a surprise Oscar. He describes how he tried to make the latest installment, “Godzilla Minus Zero,” live up to its predecessor. (www.newyorker.com)