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If at first you don’t succeed, appeal to a higher federal court. And if you even lose at the Supreme Court … just try again anyway.
This seems to be President Trump’s approach to limiting birthright citizenship.

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“How are you on theory?” my editor asked me earlier this week. I knew what he was talking about—not my pet hypotheses about, say, the existence of cryptids, but rather a group of 20th-century French philosophers. Yet I didn’t know much else beyond that.

In their fledgling but fascinating career thus far, the director Jane Schoenbrun has been consumed by the pop culture that consumes us. They’ve already proved to be an urgent voice on the matter: Their first feature, the low-budget We’re All Going to the World’s Fair, focused on the allure of online “creepypastas” and weird YouTube rabbit holes that despondent teenagers might go down.

Almost 20 years ago, I had tickets to see Amy Winehouse perform in London, at a show that was canceled just an hour before it was scheduled to start. A friend and I went to a nearby hotel bar instead, and not much later, in walked Winehouse herself—tiny, grubby, and completely incoherent. She walked over to us and stared, her eyes both furious and vacant, until someone in her entourage came and dragged her away.

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Conversation has become optimized—but not always for the better. We send a quick text instead of making a call, react with an emoji instead of a laugh, and turn catching up into a series of efficient updates.

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Even before the push alert about his resignation from the University of Cambridge this week, Jason Arday might well have been the world’s most famous living sociologist. In early 2023, Arday received a professorship at Cambridge; at 37, he was the youngest Black scholar ever to have done so, and his appointment made international headlines. A year later, he set out to sell his memoir.

Christopher Nolan has directed two movies in which a soldier washes up on a foreign shore and, battle-weary and sodden, fights to return home. The first, 2017’s Dunkirk, dramatized the World War II evacuation in which thousands of Allied soldiers were killed. It received a PG-13 rating from the Motion Picture Association (MPA) for “intense war experience and some language.

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The first time I went to sleepaway camp, I was 10 years old. When I returned home, a month later, my mom opened my footlocker to help me unpack. On top was a tray of my belongings—flashlight, lanyard, marksmanship badge, a few items of clothing, and a stack of letters my parents had mailed to me, many unopened.

In the western United States, particularly in fire-prone areas, people have become well versed at preparing to flee. They’re experts at using the tools and technology for monitoring a wildfire’s advance; they consult the Watch Duty app as often as checking the time. They know the three levels of evacuation—Ready, Set, Go—and many perform a running calculation of how much time they might need to get to safety.
On Saturday afternoon, Rita Gregovich was following that script.