The Globalist Podcast, Wednesday, May 31, 2023: Russia analyst Mark Galeotti gives us the latest on the drone attacks in Moscow, the G7 issues Leaders’ Communique on trade relations with China, a look ahead at Spain’s snap election, the business news and why flip phones are making a comeback.
‘Editor’s Picks’ Podcast (May 29, 2023) – Three essential articles read aloud from the latest issue of The Economist. This week, why Donald Trump is very likely to be the Republican nominee for president, how to fix Britain’s National Health Service (09:55) and companies’ “away days” are getting unnecessarily creative (17:15).
When the critic Joanna Biggs was thirty-two, her mother, still in her fifties, was diagnosed with Alzheimer’s. “Everything wobbled,” she recalls. Biggs was married but not sure she wanted to be, suddenly distrustful of the neat, conventional course—marriage, kids, burbs—plotted out since she met her husband, at nineteen. It was as though the disease’s rending of a maternal bond had severed her contract with the prescribed feminine itinerary. Soon enough, she and her husband were seeing other people; then he moved out, and she began making pilgrimages to visit Mary Wollstonecraft’s grave.
May 28, 2023– Emma Nelson, Tessa Szyszkowitz and Enrico Franceschini on the weekend’s biggest stories. We speak to Tyler Brûlé in Tokyo, Hannah Lucinda Smith in Istanbul and get the latest from the Cannes Film Festival.
Monocle on Saturday, May 27, 2023: The weekend’s biggest stories with Emma Nelson. CNN’s Europe editor Nina Dos Santos reviews the papers.
Monocle’s Helsinki correspondent Petri Burtsoff defends Finnish summers, and an interview with Brazilian artist Beatriz Milhazes, whose exhibition, “Maresias”, opens at the Turner Contemporary in Margate today.
Welcome to Vienna, where a whopping 80 percent of residents qualify for public housing, and once you have a contract, it never expires, even if you get richer. What can America learn from a city that has largely avoided the housing crisis?
The violence of his era can be found in his serene masterpieces — if you know where to look.
The afternoon I discovered Vermeer, I was passing time by browsing the books and publications piled up on the shelves at home in Lagos. I was 14 or 15. Amid the relics of my parents’ college studies (Nigerian plays, French histories, business-management textbooks), I found something unfamiliar: the annual report for a multinational company. I don’t remember which company it was, but it must have had something to do with food or drink, because on the front cover was a painting of peasants in a rolling field and on the back was a painting of a woman pouring milk.