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The Cancer Scams That Foreshadowed MAHA | The New Yorker
<!DOCTYPE html><html lang="en-US"><head><title>The Cancer Scams That Foreshadowed MAHA | The New Yorker</title><meta charSet="utf-8"/><meta content="IE=edge" http-equiv="X-UA-Compatible"/><meta name="msapplication-tap-highlight" content="no"/><meta name="viewport" content="width=device-width, initial-scale=1"/><meta name="author" content="Jessica Winter"/><meta name="copyright" content="Copyright (c) Condé Nast 2025"/><meta name="description" content="Jessica Winter on the Netflix miniseries “Apple Cider Vinegar,” and the trend of wellness influencers peddling seductive promises of purity to the desperately sick."/><meta name="id" content="67a25dce34700aa0e223bee9"/><meta name="keywords" content="television,netflix,wellness,hoaxes,audio"/><meta name="news_keywords" content="television,netflix,wellness,hoaxes,audio"/><meta name="robots" content="index, follow, noarchive, max-image-preview:large"/><meta name="content-type" content="article"/><meta name="parsely-post-id" 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{"channel":"culture","content":{"copyCount":2621,"imageCount":0,"embedCount":6,"ratio":436.8333333333333,"midContentCadence":900},"contentType":"article","experiments":{},"keywords":{"copilotid":["67a25dce34700aa0e223bee9"],"platform":["verso"],"tags":["television","netflix","wellness","hoaxes","hero-options","background-color-000000","culture","cultural-comment"]},"server":"production","slug":"the-cancer-scams-that-foreshadowed-maha","subChannel":"cultural-comment","subSubChannel":"","templateType":"mt_article"};</script><link rel="preconnect" href="https://ads-static.conde.digital"/><script id="ads-v6" src="https://ads-static.conde.digital/production/cns/builds/the-new-yorker/v6.js" async=""></script><script type="application/ld+json">{"@context":"http://schema.org","@type":"NewsArticle","articleBody":"Overwhelmed by fear and despair, Radner, who had a history of eating disorders, was drawn to members of the Wellness Community who followed a strict macrobiotic diet. “They seemed the least nervous and most in control of their lives,” she observes in her memoir, “It’s Always Something.” A beautiful woman with lymphoma made macrobiotic meals for Radner and told her that the diet has “cured a lot of people.” Radner hired a live-in macrobiotic chef, who fed her rice cream, miso soup, bean curd, and puréed vegetables, and instructed her to walk in her “stocking feet on the stones in the driveway” to help her intestines. She began to spend more time alone; her friends “asked too many questions about macrobiotics.”\nSoon, Radner writes, “I was in outer space—feeling pure, chewing my food, blessed by God, sure that I had cancer under control and that it was disappearing from my body.” In fact, her blood levels of CA-125—an antigen that can be measured to detect ovarian cancer—had tripled, and her weight had dropped to ninety-three pounds. When she re-started chemotherapy, she was severely underweight, dehydrated, and required blood transfusions. Radner died in May, 1989, and it’s possible that her macrobiotic experiment hastened her death.\nOf course, conventional medicine, too, was often outmatched by Radner’s illness. Before her cancer was even detected, she had spent ten months going to various doctors with symptoms of fatigue and worsening pain. (An internist thought she had Epstein-Barr; a gastroenterologist wondered if her “problems were emotional.”) Nutrition gave Radner a sense of mastery and self-determination, and her memoir is affecting for how clearly she sees the odd dichotomy of her macrobiotic crusade: it’s at once “bonko, completely nutty” and provides a necessary channel for rerouting her dread and helplessness. “I had been in such desperate straits that this became the panacea,” she writes. “I could get up in the morning. I could live.”\nI thought of Radner often while watching the new Netflix miniseries “Apple Cider Vinegar,” which is based on the wretched saga of Belle Gibson (played by Kaitlyn Dever), an Australian wellness influencer. Gibson’s miraculous tale of healing a malignant brain tumor through healthy eating turned out to be a hoax: she never had cancer at all. The series triangulates her lucrative flimflam with the stories of Milla Blake (Alycia Debnam-Carey), an influencer in Gibson’s orbit who treats her rare form of cancer with juicing and enemas, and a barista with cancer named Lucy (Tilda Cobham-Hervey), who has reached the same valley of panicked dejection that Radner did before she climbed into macrobiotics. We watch in horror as Lucy is ensorcelled by Gibson’s fraudulent account of snuffing out her disease with lemon-infused water and goji berries.\nLike so many Netflix products, “Apple Cider Vinegar” is three times as long as it needs to be and built on the tacit assumption that the viewer will wander in and out of the room at will. And yet its braided narratives generate a compelling case study in how a smart and sensible person could end up where Radner did, barefoot on her driveway to help her intestines, lightheaded from hunger, missing her friends, and yet feeling confident, empowered, “in control” of her deadly illness—and how easy it would be for a grifter to lead her to that place.\nWithin a few years of purportedly receiving a death sentence, Gibson had given birth to her son, acquired a robust following on social media, and started a wildly successful healthy-eating app, The Whole Pantry, which featured recipes free of gluten, dairy products, and refined sugar. In 2014, Australia’s Cosmopolitan gave Gibson its “Fun Fearless Female” award, Penguin Books Australia published Gibson’s first cookbook, and Apple selected The Whole Pantry as one of the apps that would come preloaded on its forthcoming Apple Watch.\nGibson might have hummed along indefinitely as a wellness demi-guru, unvetted and unbothered, had she been able to resist the urge to top herself. In the summer of 2014, she announced that her cancer had spread to her blood, spleen, uterus, and liver. (“Please don’t carry my pain,” she begged her followers. “I’ve got this.”) A predictable outpouring of support followed online, but skepticism bubbled up as well. Commenters pointed out that brain cancer tends not to spread beyond the nervous system and that Gibson’s relentless travel schedule did not square with her account of debilitating illness. The journalists Beau Donelly and Nick Toscano began looking into Gibson’s medical history and charitable donations, and, in 2015, exposed her lies in the Melbourne-based daily The Age. (“Apple Cider Vinegar” is based on their 2017 book “The Woman Who Fooled the World.”)\nWhen observers acknowledged the obvious—that Gibson did not look or behave like a person whose body was riddled with cancer—she lashed out, writing, “I have been really unsupported this whole entire time and now that I have my fucking hair back, aren’t poisoning myself with chemo, have a job and do ‘alive people things’ I’m suddenly okay and my limited support is entitled to disregard my emotions, needs and situation even more? Total bullshit.” Nevertheless, Apple soon dumped the app, Simon & Schuster pulped the U.S. print run of her cookbook, and, in 2017, an Australian federal court fined Gibson more than four hundred thousand Australian dollars for violations of consumer law—including a hundred and fifty thousand for breaking a promise to donate a portion of her app’s sales to the family of a boy with terminal brain cancer.\nMilla is closely based on Jessica Ainscough, a prominent Australian influencer who billed herself as the Wellness Warrior. When she was twenty-two, Ainscough was diagnosed with a rare form of skin cancer, and doctors eventually recommended the amputation of her arm at the shoulder. Ainscough decided instead to pursue an alt-treatment known as Gerson therapy, in which the cancer patient “detoxifies” her body by drinking fresh-pressed juice and undergoing coffee enemas. “The way I saw it I had two choices,” Ainscough explained in a 2010 op-ed. “I could rely on the slash, poison and burn method offered to me by the medical profession and become stuck in the ‘cancer patient’ category, or I could take responsibility for my illness and bring my body to optimum health so that it can heal itself.”\nThis ethos had affinities with that of Louise Hay, a best-selling New Age author who ran support groups in the nineteen-eighties and nineties for people with H.I.V. and AIDS, and who argued for the power of positive thinking, verbal affirmation, and unusual diets in overcoming disease. Hay blamed her own cervical cancer on the bitterness she still felt for abuse she had suffered in childhood, and she claimed that therapy, forgiveness, colonic irrigation, and eating two ounces of puréed asparagus three times a day had “resulted in dissolving the cancer naturally.” (In Todd Haynes’s 1995 film, “Safe,” about a woman suffering from a mysterious environmental illness, a wellness guru partly inspired by Hay tells his acolytes that the “only person who can make you sick is you.”)\nAinscough embraced a similar outlook of self-rescue. “I saved my own life,” she declared. It was a mantra of sorts, but not, in the end, a statement of fact. Her mother, who followed the Gerson method after she was diagnosed with breast cancer, died in 2013, two and a half years after her diagnosis, and Ainscough died in 2015, at the age of twenty-nine.\nConspirituality metastasized during the COVID pandemic and is most vividly embodied today in the coterie that surrounds Robert F. Kennedy, Jr.; his anti-vaccine and anti-Big Food nonprofit Children’s Health Defense, where Kennedy served as the chairman and chief litigation counsel from 2015 until 2023; and the Make America Healthy Again (MAHA) movement, where paleo-swole paranoiacs hawk vitamin supplements to mermaid-coiffed warrior moms who warn of lethal food additives in children’s snacks. (Kennedy shares Gibson’s aversion to both water fluoridation and Gardasil; he has referred hundreds of personal-injury lawsuits related to the latter, which he has called “very, very closely connected with severe depression and with suicidal behavior.” Merck, Gardasil’s manufacturer, denies his claims and maintains that its vaccine is safe.)\nThe so-called MAHA moms, some of whom recently showed up at the Senate to support Kennedy’s nomination to lead the Department of Health and Human Services, are “the mothers of children with autism, allergies, and ADHD,” the Free Press, a heterodox online outlet, explained. “Many are former Democrats, but they feel like their cause transcends party lines—shouldn’t everyone want clean water, fresh air, and healthy foods?” These parents have often experienced a radicalizing moment that broke their faith in the medical establishment: a doctor who didn’t listen when they reported a pregnancy or postpartum complication, or who brushed off symptoms of serious illness. Or they may simply feel an anguished need to account for their child’s disease or disability. Kennedy, for one, seems eager to serve this need. In conversations with the journalist Ryan D’Agostino, whose six-year-old son was diagnosed with leukemia in 2016, Kennedy strongly implied that the boy’s cancer was caused by the polio and M.M.R. vaccines. (The only person who can make you sick is you—or your parents, if they had you vaccinated.)\nIn the MAHA swirl, “clean eating,” vaccine skepticism, and even alternative cancer treatments can all become tools for “eliminating toxic exposure,” which is the avowed goal of Children’s Health Defense. This collapse of discrete phenomena is, in part, a consequence of the appeal-to-nature fallacy that dominates the wellness world—the notion that whatever is deemed to be “natural” is superior to the biologically synthetic. What isn’t “natural” is, to borrow one of Kennedy’s favorite words, “poison.” This fallacy is evident, for example, in the writings of Ty Bollinger, one of the under-credentialled experts whom Ainscough cited to support her nutrition plan. Bollinger is now a textbook conspiritualist and Trump supporter whose Web site, the Truth About Cancer, had a mutually beneficial affiliate-marketing relationship with Children’s Health Defense for a time. His wife, Charlene, told the far-right activist Laura Loomer last year, “Cancer is just an imbalance. Your body is out of balance. Something happened and the tumor is actually a blessing.” In November, Charlene claimed to be working with President Trump’s transition team “to put together something beautiful so that Bobby Kennedy can roll out his vision.”\nTrump would seem to share few of the habits or preoccupations of the wellness influencers, and yet their project is in synch with his own. It is apt for affiliates of the party of personal responsibility to suggest that a cancer patient may be culpable for her suffering if she happens to make unnatural choices. This suggestion may even offer some solace to the patient, as at least it offers the illusion of control. And it is apt for a revanchist movement to aspire after an unattainable form of cleanliness and purity in both its customs and its demographics. Alas, neither a body nor a body politic can ever be finished cleaning all the shit out of its system.\nIn “It’s Always Something,” Radner remembers waking up from surgery with her husband, Gene Wilder, at her bedside. “They got it all,” he tells her. “They got everything they could see. They got you clean.” When Radner’s cancer recurs, she is not only frightened and devastated; after becoming “a symbol of getting well,” she writes, she is revealed as “just a fraud.” By becoming ill, Radner is somehow compromised, corrupt. She was “clean” and now she’s dirty. One might wonder if she felt like more of a fake for having cancer than Belle Gibson ever did for not having it.\nWhen Radner writes about the woman with lymphoma who introduced her to macrobiotics, she emphasizes how gorgeous and ethereal she was. She “had golden red curly hair, and when light shone through it she glowed,” Radner writes. She starts calling her the Angel of Life. An angel doesn’t have a body, certainly not a fallible one full of viscera and waste and gore. Her insides wouldn’t run with blood. One imagines some kind of burbling stream, clean and pure, flowing with bone broth or mint-ginger water, sunshine glinting off its surface, and the air so fresh. ♦","isBasedOn":"","articleSection":"cultural comment","author":[{"@type":"Person","name":"Jessica Winter","sameAs":"https://www.newyorker.com/contributors/jessica-winter"}],"dateModified":"2025-02-06T13:14:26.024-05:00","datePublished":"2025-02-06T13:14:26.024-05:00","headline":"The Cancer Scams That Foreshadowed MAHA","image":["https://media.newyorker.com/photos/67a3c26f05d5a7075deb6fab/16:9/w_2560,h_1440,c_limit/Winter-AppleCiderVinegar-Gomez.jpg","https://media.newyorker.com/photos/67a3c26f05d5a7075deb6fab/4:3/w_2560,h_1920,c_limit/Winter-AppleCiderVinegar-Gomez.jpg","https://media.newyorker.com/photos/67a3c26f05d5a7075deb6fab/1:1/w_2560,h_2560,c_limit/Winter-AppleCiderVinegar-Gomez.jpg"],"keywords":["cultural 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Comment</span></a></div></div><h1 data-testid="ContentHeaderHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SplitScreenContentHeaderHed-lcUSuI iUEiRd kOQxwh dfelga">The Cancer Scams That Foreshadowed <em class="small">MAHA</em></h1><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SplitScreenContentHeaderDek-emptdL iUEiRd ijAEVA dJrDEb">Long before R.F.K., Jr., promised to “Make America Healthy Again,” wellness influencers were peddling a seductive promise of purity to the desperately sick.</div><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk jYjxgY bylines SplitScreenContentHeaderByline-kvEhqE iuIrnr"><span class="BylineWrapper-jWHrLH iBybbt byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn eJwCwq byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ uhfVi 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data-testid="BodyWrapper"><div class="body__inner-container"><figure class="CneAudioEmbedFigure-bRoyFa cjLQOE"><div><div id="js-audioembed-unqj1n"></div></div></figure><p class="has-dropcap has-dropcap__lead-standard-heading paywall">In 1986, Gilda Radner, one of “Saturday Night Live” ’s original <a href="https://www.newyorker.com/magazine/2025/01/20/lorne-michaels-profile">Not Ready for Prime Time Players</a>, was diagnosed with Stage IV ovarian cancer, at the age of forty. She underwent a hysterectomy, chemotherapy, and radiation, entered remission, and became the public face of a support group for cancer patients called the Wellness Community, which focussed on positive thinking. She appeared on the cover of <em>Life</em> magazine with the headline “Gilda Radner’s Answer to Cancer: Healing the Body with Mind and Heart.” Then she learned that her cancer had spread.</p><p class="paywall">Overwhelmed by fear and despair, Radner, who had a history of eating disorders, was drawn to members of the Wellness Community who followed a strict macrobiotic diet. “They seemed the least nervous and most in control of their lives,” she observes in her memoir, “<a data-offer-url="https://www.amazon.com/Its-Always-Something-Twentieth-Anniversary/dp/1439148864" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.amazon.com/Its-Always-Something-Twentieth-Anniversary/dp/1439148864"}" href="https://www.amazon.com/Its-Always-Something-Twentieth-Anniversary/dp/1439148864" rel="nofollow noopener" target="_blank">It’s Always Something</a>.” A beautiful woman with lymphoma made macrobiotic meals for Radner and told her that the diet has “cured a lot of people.” Radner hired a live-in macrobiotic chef, who fed her rice cream, miso soup, bean curd, and puréed vegetables, and instructed her to walk in her “stocking feet on the stones in the driveway” to help her intestines. She began to spend more time alone; her friends “asked too many questions about macrobiotics.”</p><p class="paywall">Soon, Radner writes, “I was in outer space—feeling pure, chewing my food, blessed by God, sure that I had cancer under control and that it was disappearing from my body.” In fact, her blood levels of CA-125—an antigen that can be measured to detect ovarian cancer—had tripled, and her weight had dropped to ninety-three pounds. When she re-started chemotherapy, she was severely underweight, dehydrated, and required blood transfusions. Radner died in May, 1989, and it’s possible that her macrobiotic experiment hastened her death.</p><div></div><div></div><p class="paywall">Of course, conventional medicine, too, was often outmatched by Radner’s illness. Before her cancer was even detected, she had spent ten months going to various doctors with symptoms of fatigue and worsening pain. (An internist thought she had Epstein-Barr; a gastroenterologist wondered if her “problems were emotional.”) Nutrition gave Radner a sense of mastery and self-determination, and her memoir is affecting for how clearly she sees the odd dichotomy of her macrobiotic crusade: it’s at once “bonko, completely nutty” and provides a necessary channel for rerouting her dread and helplessness. “I had been in such desperate straits that this became the panacea,” she writes. “I could get up in the morning. I could live.”</p><p class="paywall">I thought of Radner often while watching the new Netflix miniseries “Apple Cider Vinegar,” which is based on the wretched saga of Belle Gibson (played by Kaitlyn Dever), an Australian wellness influencer. Gibson’s miraculous tale of healing a malignant brain tumor through healthy eating turned out to be a hoax: she never had cancer at all. The series triangulates her lucrative flimflam with the stories of Milla Blake (Alycia Debnam-Carey), an influencer in Gibson’s orbit who treats her rare form of cancer with juicing and enemas, and a barista with cancer named Lucy (Tilda Cobham-Hervey), who has reached the same valley of panicked dejection that Radner did before she climbed into macrobiotics. We watch in horror as Lucy is ensorcelled by Gibson’s fraudulent account of snuffing out her disease with lemon-infused water and goji berries.</p><div><div class="ConsumerMarketingUnitThemedWrapper-iUTMTf jssHut consumer-marketing-unit consumer-marketing-unit--article-mid-content" role="presentation" aria-hidden="true"><div class="consumer-marketing-unit__slot consumer-marketing-unit__slot--article-mid-content consumer-marketing-unit__slot--in-content"></div><div class="journey-unit"></div></div></div><p class="paywall">Like so many Netflix products, “Apple Cider Vinegar” is three times as long as it needs to be and built on the tacit assumption that the viewer will wander in and out of the room at will. And yet its braided narratives generate a compelling case study in how a smart and sensible person could end up where Radner did, barefoot on her driveway to help her intestines, lightheaded from hunger, missing her friends, and yet feeling confident, empowered, “in control” of her deadly illness—and how easy it would be for a grifter to lead her to that place.</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">Gibson began building an audience on Instagram in 2013, posting radiant, glossy-lip selfies alongside recipes for protein-infused smoothies and colorful salads. The palette was grapefruit pinks and dark, leafy greens as refracted through a glass of sparkling water; the presentation was as carefully carefree as her silky blowouts. Gibson was young, white, and pretty, with a dainty nose ring, a photogenic child, and an incredible story. Years earlier, she told her followers, physicians had informed her that she had “a severe and malignant brain cancer,” and just weeks or months to live. She abandoned chemotherapy and radiation, even though her “doctors freaked out,” and devised her own treatment plan of clean eating and holistic medicine.</p><p class="paywall">Within a few years of purportedly receiving a death sentence, Gibson had given birth to her son, acquired a robust following on social media, and started a wildly successful healthy-eating app, The Whole Pantry, which featured recipes free of gluten, dairy products, and refined sugar. In 2014, Australia’s <em>Cosmopolitan</em> gave Gibson its “Fun Fearless Female” award, Penguin Books Australia published Gibson’s first cookbook, and Apple selected The Whole Pantry as one of the apps that would come preloaded on its forthcoming Apple Watch.</p><p class="paywall">Gibson might have hummed along indefinitely as a wellness demi-guru, unvetted and unbothered, had she been able to resist the urge to top herself. In the summer of 2014, she announced that her cancer had spread to her blood, spleen, uterus, and liver. (“Please don’t carry my pain,” she begged her followers. “I’ve got this.”) A predictable outpouring of support followed online, but skepticism bubbled up as well. Commenters pointed out that brain cancer tends not to spread beyond the nervous system and that Gibson’s relentless travel schedule did not square with her account of debilitating illness. The journalists Beau Donelly and Nick Toscano began looking into Gibson’s medical history and charitable donations, and, in 2015, exposed her lies in the Melbourne-based daily <em>The Age</em>. (“Apple Cider Vinegar” is based on their 2017 book “<a data-offer-url="https://www.amazon.com/Woman-Who-Fooled-World-darkness-ebook/dp/B076QKH3DG" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.amazon.com/Woman-Who-Fooled-World-darkness-ebook/dp/B076QKH3DG"}" href="https://www.amazon.com/Woman-Who-Fooled-World-darkness-ebook/dp/B076QKH3DG" rel="nofollow noopener" target="_blank">The Woman Who Fooled the World.</a>”)</p><p class="paywall">When observers acknowledged the obvious—that Gibson did not look or behave like a person whose body was riddled with cancer—she lashed out, writing, “I have been really unsupported this whole entire time and now that I have my fucking hair back, aren’t poisoning myself with chemo, have a job and do ‘alive people things’ I’m suddenly okay and my limited support is entitled to disregard my emotions, needs and situation even more? Total bullshit.” Nevertheless, Apple soon dumped the app, Simon & Schuster pulped the U.S. print run of her cookbook, and, in 2017, an Australian federal court fined Gibson more than four hundred thousand Australian dollars for violations of consumer law—including a hundred and fifty thousand for breaking a promise to donate a portion of her app’s sales to the family of a boy with terminal brain cancer.</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">Dever’s performance in “Apple Cider Vinegar” strikes a smart balance between cartoon villainy and untreated personality disorder; her Belle is a pitiable and scary void, a human salad spinner of other people’s desperation, hope, and good faith. But it’s Milla, Belle’s rival influencer, who is the series’ most psychologically fascinating character. Both of these women have a predatory stake in quackery, but it’s Milla who has actually staked her life on it.</p><div class="Container-hnJNtl gxMaIG"></div><p class="paywall">Milla is closely based on Jessica Ainscough, a prominent Australian influencer who billed herself as the Wellness Warrior. When she was twenty-two, Ainscough was diagnosed with a rare form of skin cancer, and doctors eventually recommended the amputation of her arm at the shoulder. Ainscough decided instead to pursue an alt-treatment known as Gerson therapy, in which the cancer patient “detoxifies” her body by drinking fresh-pressed juice and undergoing coffee enemas. “The way I saw it I had two choices,” Ainscough <a data-offer-url="https://www.abc.net.au/news/2010-04-07/33482" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.abc.net.au/news/2010-04-07/33482"}" href="https://www.abc.net.au/news/2010-04-07/33482" rel="nofollow noopener" target="_blank">explained</a> in a 2010 op-ed. “I could rely on the slash, poison and burn method offered to me by the medical profession and become stuck in the ‘cancer patient’ category, or I could take responsibility for my illness and bring my body to optimum health so that it can heal itself.”</p><p class="paywall">This ethos had affinities with that of Louise Hay, a best-selling New Age author who ran support groups in the nineteen-eighties and nineties for people with H.I.V. and <em class="small">AIDS</em>, and who argued for the power of positive thinking, verbal affirmation, and unusual diets in overcoming disease. Hay blamed her own cervical cancer on the bitterness she still felt for abuse she had suffered in childhood, and she claimed that therapy, forgiveness, colonic irrigation, and eating two ounces of puréed asparagus three times a day had “resulted in dissolving the cancer naturally.” (In Todd Haynes’s 1995 film, “<a href="https://www.newyorker.com/culture/culture-desk/todd-hayness-masterpiece-safe-is-now-a-tale-of-two-plagues">Safe</a>,” about a woman suffering from a mysterious environmental illness, a wellness guru partly inspired by Hay tells his acolytes that the “only person who can make you sick is you.”)</p><p class="paywall">Ainscough embraced a similar outlook of self-rescue. “I saved my own life,” she declared. It was a mantra of sorts, but not, in the end, a statement of fact. Her mother, who followed the Gerson method after she was diagnosed with breast cancer, died in 2013, two and a half years after her diagnosis, and Ainscough died in 2015, at the age of twenty-nine.</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">In 2011, the sociologists Charlotte Ward and David Voas coined the term “conspirituality” to define a belief system that fuses New Age spirituality with a conspiracy-theory mind-set. They seemed to foretell Gibson and Ainscough’s formula of positivity, “natural” remedies, and deep distrust of the medical establishment. Like the wellness warriors of today, Gibson fearmongered about fluoridated water and the H.P.V. vaccine—she claimed, without evidence, that Gardasil had caused her brain tumor. Ainscough, who told her followers that cancer is symptomatic of a “toxic diet, toxic mind and toxic environment,” believed that corporations and Big Pharma were incentivized to maintain a status quo of toxicity. “I don’t believe they will ever find a cure, and if they do would they make it public knowledge? Not unless another bread-winning disease breaks out to replace cancer,” Ainscough wrote in her 2010 op-ed. She went on, “It’s too big to cure.”</p><p class="paywall">Conspirituality metastasized during the <em class="small">COVID</em> pandemic and is most vividly embodied today in the coterie that surrounds <a href="https://www.newyorker.com/news/the-lede/the-junk-science-of-robert-f-kennedy-jr">Robert F. Kennedy, Jr.</a>; his anti-vaccine and anti-Big Food nonprofit Children’s Health Defense, where Kennedy served as the chairman and chief litigation counsel from 2015 until 2023; and the Make America Healthy Again (<em class="small">MAHA</em>) movement, where paleo-swole paranoiacs hawk vitamin supplements to mermaid-coiffed warrior moms who warn of lethal food additives in children’s snacks. (Kennedy shares Gibson’s aversion to both water fluoridation and Gardasil; he has referred hundreds of personal-injury lawsuits related to the latter, which he has called “very, very closely connected with severe depression and with suicidal behavior.” Merck, Gardasil’s manufacturer, denies his claims and maintains that its vaccine is safe.)</p><p class="paywall">The so-called <em class="small">MAHA</em> moms, some of whom recently showed up at the Senate to support Kennedy’s nomination to lead the Department of Health and Human Services, are “the mothers of children with autism, allergies, and ADHD,” the <em>Free Press</em>, a heterodox online outlet, <a data-offer-url="https://www.thefp.com/p/maha-moms-rfk-jr-hhs-senate-hearing-trump-vaccines?utm_source=twitter&utm_medium=organic-social" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.thefp.com/p/maha-moms-rfk-jr-hhs-senate-hearing-trump-vaccines?utm_source=twitter&utm_medium=organic-social"}" href="https://www.thefp.com/p/maha-moms-rfk-jr-hhs-senate-hearing-trump-vaccines?utm_source=twitter&utm_medium=organic-social" rel="nofollow noopener" target="_blank">explained</a>. “Many are former Democrats, but they feel like their cause transcends party lines—shouldn’t everyone want clean water, fresh air, and healthy foods?” These parents have often experienced a radicalizing moment that broke their faith in the medical establishment: a doctor who didn’t listen when they reported a pregnancy or postpartum complication, or who brushed off symptoms of serious illness. Or they may simply feel an anguished need to account for their child’s disease or disability. Kennedy, for one, seems eager to serve this need. In <a data-offer-url="https://www.esquire.com/news-politics/a63559859/rfk-jr-cancer-anti-vaccine/" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.esquire.com/news-politics/a63559859/rfk-jr-cancer-anti-vaccine/"}" href="https://www.esquire.com/news-politics/a63559859/rfk-jr-cancer-anti-vaccine/" rel="nofollow noopener" target="_blank">conversations</a> with the journalist Ryan D’Agostino, whose six-year-old son was diagnosed with leukemia in 2016, Kennedy strongly implied that the boy’s cancer was caused by the polio and M.M.R. vaccines. (The only person who can make you sick is you—or your parents, if they had you vaccinated.)</p><p class="paywall">In the <em class="small">MAHA</em> swirl, “clean eating,” vaccine skepticism, and even alternative cancer treatments can all become tools for “eliminating toxic exposure,” which is the avowed goal of Children’s Health Defense. This collapse of discrete phenomena is, in part, a consequence of the appeal-to-nature fallacy that dominates the wellness world—the notion that whatever is deemed to be “natural” is superior to the biologically synthetic. What isn’t “natural” is, to borrow one of Kennedy’s favorite words, “poison.” This fallacy is evident, for example, in the writings of Ty Bollinger, one of the under-credentialled experts whom Ainscough cited to support her nutrition plan. Bollinger is now a textbook conspiritualist and Trump supporter whose Web site, the Truth About Cancer, had a mutually beneficial affiliate-marketing <a href="https://apnews.com/article/anti-vaccine-bollinger-coronavirus-disinformation-a7b8e1f33990670563b4c469b462c9bf">relationship</a> with Children’s Health Defense for a time. His wife, Charlene, told the far-right activist Laura Loomer last year, “Cancer is just an imbalance. Your body is out of balance. Something happened and the tumor is actually a blessing.” In November, Charlene claimed to be working with President Trump’s transition team “to put together something beautiful so that Bobby Kennedy can roll out his vision.”</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">On the HBO series “<a href="https://www.newyorker.com/magazine/2018/09/03/successions-satisfyingly-nasty-family-ties">Succession</a>,” a pair of billionaire brothers hand the Presidential election to a fascist-lite provocateur, whose victory speech is a paean to nationalist hygiene that Mussolini might have admired: “Don’t we long, sometimes, for something clean, once, in this polluted land? That’s what I hope to bring. Not something grubby with compromise. Something clean and true and refreshing. Something proud and pure.” President Trump is famously attracted to such imagery. He has called his political opponents “vermin”; he has proposed, of postwar Gaza, that “we just clean out that whole thing”; he has said, of immigrants, “They’re poisoning the blood of our country.” They are the bacteria that need to be colonically irrigated, the liver toxin that needs to be juice-cleansed.</p><p class="paywall">Trump would seem to share few of the habits or preoccupations of the wellness influencers, and yet their project is in synch with his own. It is apt for affiliates of the party of personal responsibility to suggest that a cancer patient may be culpable for her suffering if she happens to make unnatural choices. This suggestion may even offer some solace to the patient, as at least it offers the illusion of control. And it is apt for a revanchist movement to aspire after an unattainable form of cleanliness and purity in both its customs and its demographics. Alas, neither a body nor a body politic can ever be finished cleaning all the shit out of its system.</p><p class="paywall">In “It’s Always Something,” Radner remembers waking up from surgery with her husband, Gene Wilder, at her bedside. “They got it all,” he tells her. “They got everything they could see. They got you clean.” When Radner’s cancer recurs, she is not only frightened and devastated; after becoming “a symbol of getting well,” she writes, she is revealed as “<em>just a fraud</em>.” By becoming ill, Radner is somehow compromised, corrupt. She was “clean” and now she’s dirty. One might wonder if she felt like more of a fake for having cancer than Belle Gibson ever did for not having it.</p><p class="paywall">When Radner writes about the woman with lymphoma who introduced her to macrobiotics, she emphasizes how gorgeous and ethereal she was. She “had golden red curly hair, and when light shone through it she glowed,” Radner writes. She starts calling her the Angel of Life. An angel doesn’t have a body, certainly not a fallible one full of viscera and waste and gore. Her insides wouldn’t run with blood. One imagines some kind of burbling stream, clean and pure, flowing with bone broth or mint-ginger water, sunshine glinting off its surface, and the air so fresh. ♦</p></div></div></div></div></div><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 PaywallInlineBarrierWithWrapperGrid-fyrGfS jyGBoi"><div class="GridItem-buujkM kHPPIF grid--item"><div class="body body__inline-barrier article__body article__body--grid-margins"><div class="container container--body"><div class="container--body-inner"><aside class="PaywallInlineBarrierWrapper-iBnuqk lfXXa-D" data-testid="PaywallInlineBarrierWrapper"><div class="ConsumerMarketingUnitThemedWrapper-iUTMTf jssHut consumer-marketing-unit consumer-marketing-unit--paywall-inline-barrier" role="presentation" aria-live="polite" aria-hidden="true"><div class="consumer-marketing-unit__slot consumer-marketing-unit__slot--paywall-inline-barrier"></div><div class="journey-unit"></div></div></aside></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 ContentWrapperGrid-fvkmBv jfHKjr"><div class="GridItem-buujkM kHPPIF grid--item"><div class="body body__container"><div class="container container--body"><div class="container--body-inner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG htZQNn ArticlePageContentFooterGrid-ccsXYy fzwwkW article-body__footer"><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0"><div class="GridItem-buujkM kHPPIF grid--item"><div class="LinkStackWrapper-NFLYw kgtXXB linkstack" data-testid="LinkStack"><div class="SectionTitleRoot-dBGvdq dObkxA LinkStackHeader-lKjbE eOIsXc link-stack--heading" data-testid="SectionTitle"><h2 class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectionTitleHed-dKqZet dxqEAa hLZrSI gbguXG">New 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href="https://www.newyorker.com/culture/the-weekend-essay/the-hidden-histories-lost-in-the-los-angeles-fires#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Hidden Histories Lost in the Los Angeles Fires</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-weekend-essay/the-hidden-histories-lost-in-the-los-angeles-fires#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-1" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679912e9399f07be4e0bec3c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679912e9399f07be4e0bec3c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679912e9399f07be4e0bec3c/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679912e9399f07be4e0bec3c/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679912e9399f07be4e0bec3c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679912e9399f07be4e0bec3c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679912e9399f07be4e0bec3c/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Hidden Histories Lost in the Los Angeles Fires" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679912e9399f07be4e0bec3c/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Many great modernist houses were burned, but a monument of German culture in exile survived.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Alex Ross</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"What We Learn About Our World by Imagining Its End","index":1,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2025/02/03/everything-must-go-dorian-lynskey-book-review#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/02/03/everything-must-go-dorian-lynskey-book-review#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-2" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" 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sizes="100vw"/><img alt="What We Learn About Our World by Imagining Its End" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67916d7a22166fe8ef25d0a7/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">A Critic at Large</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-2" data-component-type="recirc-river" data-recirc-id="item-hed-2" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/02/03/everything-must-go-dorian-lynskey-book-review#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">What We Learn About Our World by Imagining Its End</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/02/03/everything-must-go-dorian-lynskey-book-review#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-2" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67916d7a22166fe8ef25d0a7/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67916d7a22166fe8ef25d0a7/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67916d7a22166fe8ef25d0a7/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67916d7a22166fe8ef25d0a7/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67916d7a22166fe8ef25d0a7/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67916d7a22166fe8ef25d0a7/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67916d7a22166fe8ef25d0a7/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="What We Learn About Our World by Imagining Its End" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67916d7a22166fe8ef25d0a7/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Some fear we’ll be buried in brimstone; others expect to be extinguished by A.I. But is there comfort to be found in our apocalyptic visions?</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Arthur Krystal</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Lessons for the End of the World","index":2,"contentType":"venue","hotelLink":"https://www.newyorker.com/culture/essay/lessons-for-the-end-of-the-world#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/essay/lessons-for-the-end-of-the-world#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-3" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Lessons for the End of the World" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Essay</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-3" data-component-type="recirc-river" data-recirc-id="item-hed-3" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/essay/lessons-for-the-end-of-the-world#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Lessons for the End of the World</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/essay/lessons-for-the-end-of-the-world#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-3" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Lessons for the End of the World" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679d2ece811083d39445fc89/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">On Octavia Butler, the L.A. fires, and the uses and misuses of the things that cannot be recovered.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Hanif Abdurraqib</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Bill Gates and the New Trumpian Tech Oligarchs","index":3,"contentType":"venue","hotelLink":"https://www.newyorker.com/podcast/the-new-yorker-radio-hour/bill-gates-on-his-new-memoir-and-dining-with-donald-trump-at-mar-a-lago#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/podcast/the-new-yorker-radio-hour/bill-gates-on-his-new-memoir-and-dining-with-donald-trump-at-mar-a-lago#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-4" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679cdd5c53d85e72be2184b1/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679cdd5c53d85e72be2184b1/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679cdd5c53d85e72be2184b1/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679cdd5c53d85e72be2184b1/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679cdd5c53d85e72be2184b1/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679cdd5c53d85e72be2184b1/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679cdd5c53d85e72be2184b1/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Bill Gates and the New Trumpian Tech Oligarchs" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679cdd5c53d85e72be2184b1/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Interview</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-4" data-component-type="recirc-river" data-recirc-id="item-hed-4" data-recirc-pattern="summary-item" href="https://www.newyorker.com/podcast/the-new-yorker-radio-hour/bill-gates-on-his-new-memoir-and-dining-with-donald-trump-at-mar-a-lago#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Bill Gates and the New Trumpian Tech Oligarchs</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/podcast/the-new-yorker-radio-hour/bill-gates-on-his-new-memoir-and-dining-with-donald-trump-at-mar-a-lago#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-4" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679cdd5c53d85e72be2184b1/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679cdd5c53d85e72be2184b1/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679cdd5c53d85e72be2184b1/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679cdd5c53d85e72be2184b1/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679cdd5c53d85e72be2184b1/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679cdd5c53d85e72be2184b1/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679cdd5c53d85e72be2184b1/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Bill Gates and the New Trumpian Tech Oligarchs" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679cdd5c53d85e72be2184b1/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The Microsoft founder discusses vaccine skepticism, his fellow-billionaires’ political pivots, and his dinner with the President at Mar-a-Lago.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>David Remnick</span></span></span></div></div></div></div></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryCollectionGridSummaryItem-WColm drmLpp ad ad--read-more"><div class="ad__slot ad__slot--read-more" data-node-id="3gydh"></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"The Motley Vermont Town Trying to Tell Its Own Story","index":4,"contentType":"venue","hotelLink":"https://www.newyorker.com/news/dispatch/hardwick-the-motley-vermont-town-trying-to-tell-its-own-story#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/dispatch/hardwick-the-motley-vermont-town-trying-to-tell-its-own-story#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-5" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Motley Vermont Town Trying to Tell Its Own Story" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Dispatch</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-5" data-component-type="recirc-river" data-recirc-id="item-hed-5" data-recirc-pattern="summary-item" href="https://www.newyorker.com/news/dispatch/hardwick-the-motley-vermont-town-trying-to-tell-its-own-story#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Motley Vermont Town Trying to Tell Its Own Story</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/dispatch/hardwick-the-motley-vermont-town-trying-to-tell-its-own-story#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-5" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Motley Vermont Town Trying to Tell Its Own Story" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6798f4cef0bcce95a82bc18a/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">At the Civic Standard, in Hardwick, community building is a kind of performance art, where the usual tales of a fractured America are quickly upstaged.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Chelsea Edgar</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"The Frustrated Promise of the Rape Kit","index":5,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2025/02/10/the-secret-history-of-the-rape-kit-pagan-kennedy-book-review#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/02/10/the-secret-history-of-the-rape-kit-pagan-kennedy-book-review#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-6" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679901cfc571ed2eee81c6d7/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679901cfc571ed2eee81c6d7/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679901cfc571ed2eee81c6d7/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679901cfc571ed2eee81c6d7/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679901cfc571ed2eee81c6d7/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679901cfc571ed2eee81c6d7/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679901cfc571ed2eee81c6d7/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Frustrated Promise of the Rape Kit" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679901cfc571ed2eee81c6d7/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Books</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-6" data-component-type="recirc-river" data-recirc-id="item-hed-6" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/02/10/the-secret-history-of-the-rape-kit-pagan-kennedy-book-review#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Frustrated Promise of the Rape Kit</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/02/10/the-secret-history-of-the-rape-kit-pagan-kennedy-book-review#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-6" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679901cfc571ed2eee81c6d7/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679901cfc571ed2eee81c6d7/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679901cfc571ed2eee81c6d7/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679901cfc571ed2eee81c6d7/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679901cfc571ed2eee81c6d7/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679901cfc571ed2eee81c6d7/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679901cfc571ed2eee81c6d7/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Frustrated Promise of the Rape Kit" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679901cfc571ed2eee81c6d7/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Standardized forensic exams are a useful tool for sexual-violence investigations—or they would be if police departments consistently tested their findings.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Jessica Winter</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"The Long Flight to Teach an Endangered Ibis Species to Migrate","index":6,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2025/02/17/the-long-flight-to-teach-an-endangered-ibis-species-to-migrate#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/02/17/the-long-flight-to-teach-an-endangered-ibis-species-to-migrate#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-7" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ab9df83824e8e8c908ff33/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ab9df83824e8e8c908ff33/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ab9df83824e8e8c908ff33/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67ab9df83824e8e8c908ff33/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ab9df83824e8e8c908ff33/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ab9df83824e8e8c908ff33/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ab9df83824e8e8c908ff33/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Long Flight to Teach an Endangered Ibis Species to Migrate" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ab9df83824e8e8c908ff33/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Control of Nature</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-7" data-component-type="recirc-river" data-recirc-id="item-hed-7" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/02/17/the-long-flight-to-teach-an-endangered-ibis-species-to-migrate#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Long Flight to Teach an Endangered Ibis Species to Migrate</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/02/17/the-long-flight-to-teach-an-endangered-ibis-species-to-migrate#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-7" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ab9df83824e8e8c908ff33/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ab9df83824e8e8c908ff33/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ab9df83824e8e8c908ff33/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67ab9df83824e8e8c908ff33/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ab9df83824e8e8c908ff33/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ab9df83824e8e8c908ff33/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ab9df83824e8e8c908ff33/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Long Flight to Teach an Endangered Ibis Species to Migrate" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ab9df83824e8e8c908ff33/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Our devastation of nature is so extreme that reversing even a small part of it requires painstaking, quixotic efforts.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Nick Paumgarten</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"The Insidious Charms of the Entrepreneurial Work Ethic","index":7,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2025/02/03/make-your-own-job-erik-baker-book-review#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/02/03/make-your-own-job-erik-baker-book-review#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-8" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679116b9e1843c1f945e7a18/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679116b9e1843c1f945e7a18/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679116b9e1843c1f945e7a18/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679116b9e1843c1f945e7a18/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679116b9e1843c1f945e7a18/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679116b9e1843c1f945e7a18/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679116b9e1843c1f945e7a18/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Insidious Charms of the Entrepreneurial Work Ethic" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679116b9e1843c1f945e7a18/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Books</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-8" data-component-type="recirc-river" data-recirc-id="item-hed-8" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/02/03/make-your-own-job-erik-baker-book-review#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Insidious Charms of the Entrepreneurial Work Ethic</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/02/03/make-your-own-job-erik-baker-book-review#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-8" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679116b9e1843c1f945e7a18/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679116b9e1843c1f945e7a18/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679116b9e1843c1f945e7a18/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679116b9e1843c1f945e7a18/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679116b9e1843c1f945e7a18/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679116b9e1843c1f945e7a18/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679116b9e1843c1f945e7a18/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Insidious Charms of the Entrepreneurial Work Ethic" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679116b9e1843c1f945e7a18/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">You’re passionate. Purpose-driven. Dreaming big, working hard, making it happen. And now they’ve got you where they want you.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Anna Wiener</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Behind the Chaotic Attempt to Freeze Federal Assistance","index":8,"contentType":"venue","hotelLink":"https://www.newyorker.com/news/the-lede/behind-the-chaotic-attempt-to-freeze-federal-assistance#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/the-lede/behind-the-chaotic-attempt-to-freeze-federal-assistance#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-9" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679a66121c75002242fc853f/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679a66121c75002242fc853f/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679a66121c75002242fc853f/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679a66121c75002242fc853f/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679a66121c75002242fc853f/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679a66121c75002242fc853f/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679a66121c75002242fc853f/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Behind the Chaotic Attempt to Freeze Federal Assistance" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679a66121c75002242fc853f/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Lede</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-9" data-component-type="recirc-river" data-recirc-id="item-hed-9" data-recirc-pattern="summary-item" href="https://www.newyorker.com/news/the-lede/behind-the-chaotic-attempt-to-freeze-federal-assistance#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Behind the Chaotic Attempt to Freeze Federal Assistance</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/the-lede/behind-the-chaotic-attempt-to-freeze-federal-assistance#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-9" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679a66121c75002242fc853f/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679a66121c75002242fc853f/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679a66121c75002242fc853f/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679a66121c75002242fc853f/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679a66121c75002242fc853f/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679a66121c75002242fc853f/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679a66121c75002242fc853f/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Behind the Chaotic Attempt to Freeze Federal Assistance" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679a66121c75002242fc853f/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The potential for devastation is made plain by another order, concerning the crucial work of U.S.A.I.D.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Atul Gawande</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"What Michael Crichton Reveals About Big Tech and A.I.","index":9,"contentType":"venue","hotelLink":"https://www.newyorker.com/culture/infinite-scroll/what-michael-crichton-reveals-about-big-tech-and-ai#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/infinite-scroll/what-michael-crichton-reveals-about-big-tech-and-ai#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-10" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6797dc1d51f898a164f0664d/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6797dc1d51f898a164f0664d/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6797dc1d51f898a164f0664d/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6797dc1d51f898a164f0664d/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6797dc1d51f898a164f0664d/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6797dc1d51f898a164f0664d/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6797dc1d51f898a164f0664d/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="What Michael Crichton Reveals About Big Tech and A.I." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6797dc1d51f898a164f0664d/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Infinite Scroll</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-10" data-component-type="recirc-river" data-recirc-id="item-hed-10" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/infinite-scroll/what-michael-crichton-reveals-about-big-tech-and-ai#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">What Michael Crichton Reveals About Big Tech and A.I.</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/infinite-scroll/what-michael-crichton-reveals-about-big-tech-and-ai#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-10" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6797dc1d51f898a164f0664d/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6797dc1d51f898a164f0664d/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6797dc1d51f898a164f0664d/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6797dc1d51f898a164f0664d/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6797dc1d51f898a164f0664d/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6797dc1d51f898a164f0664d/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6797dc1d51f898a164f0664d/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="What Michael Crichton Reveals About Big Tech and A.I." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6797dc1d51f898a164f0664d/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The author of “Jurassic Park” understood that technologies often wriggle out of the grasp of their creators.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Cal Newport</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Mourning David Lynch in a City on Fire","index":10,"contentType":"venue","hotelLink":"https://www.newyorker.com/news/letter-from-los-angeles/mourning-david-lynch-in-a-city-on-fire#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/letter-from-los-angeles/mourning-david-lynch-in-a-city-on-fire#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-11" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Mourning David Lynch in a City on Fire" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Letter from Los Angeles</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-11" data-component-type="recirc-river" data-recirc-id="item-hed-11" data-recirc-pattern="summary-item" href="https://www.newyorker.com/news/letter-from-los-angeles/mourning-david-lynch-in-a-city-on-fire#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Mourning David Lynch in a City on Fire</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/letter-from-los-angeles/mourning-david-lynch-in-a-city-on-fire#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-11" 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srcSet="https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Mourning David Lynch in a City on Fire" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679b9b63f98109afc9f13bf3/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">In L.A., the death of the director of “Mulholland Drive” and “Inland Empire” leaves an unfillable void.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div 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href="https://www.newyorker.com/culture/persons-of-interest/catherine-breillats-unsettling-cinema-of-desire#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Catherine Breillat’s Unsettling Cinema of Desire</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/persons-of-interest/catherine-breillats-unsettling-cinema-of-desire#intcid=_the-new-yorker-article-bottom-recirc_841ea04f-a123-4652-a2ae-15768c6bbb69_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-12" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset 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https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Catherine Breillat’s Unsettling Cinema of Desire" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6794078d6a2d4a6eff2a530e/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The French director has built her decades-long career on transgression. She sees herself as a romantic.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Victoria Uren</span></span></span></div></div></div></div></div></div></div><div class="SummaryCollectionGridToActionWrapper-gnReGN eGayfk"></div></div></div></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div 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She began to spend more time alone; her friends “asked too many questions about macrobiotics.”\nSoon, Radner writes, “I was in outer space—feeling pure, chewing my food, blessed by God, sure that I had cancer under control and that it was disappearing from my body.” In fact, her blood levels of CA-125—an antigen that can be measured to detect ovarian cancer—had tripled, and her weight had dropped to ninety-three pounds. When she re-started chemotherapy, she was severely underweight, dehydrated, and required blood transfusions. Radner died in May, 1989, and it’s possible that her macrobiotic experiment hastened her death.\nOf course, conventional medicine, too, was often outmatched by Radner’s illness. Before her cancer was even detected, she had spent ten months going to various doctors with symptoms of fatigue and worsening pain. (An internist thought she had Epstein-Barr; a gastroenterologist wondered if her “problems were emotional.”) Nutrition gave Radner a sense of mastery and self-determination, and her memoir is affecting for how clearly she sees the odd dichotomy of her macrobiotic crusade: it’s at once “bonko, completely nutty” and provides a necessary channel for rerouting her dread and helplessness. “I had been in such desperate straits that this became the panacea,” she writes. “I could get up in the morning. I could live.”\nI thought of Radner often while watching the new Netflix miniseries “Apple Cider Vinegar,” which is based on the wretched saga of Belle Gibson (played by Kaitlyn Dever), an Australian wellness influencer. Gibson’s miraculous tale of healing a malignant brain tumor through healthy eating turned out to be a hoax: she never had cancer at all. The series triangulates her lucrative flimflam with the stories of Milla Blake (Alycia Debnam-Carey), an influencer in Gibson’s orbit who treats her rare form of cancer with juicing and enemas, and a barista with cancer named Lucy (Tilda Cobham-Hervey), who has reached the same valley of panicked dejection that Radner did before she climbed into macrobiotics. We watch in horror as Lucy is ensorcelled by Gibson’s fraudulent account of snuffing out her disease with lemon-infused water and goji berries.\nLike so many Netflix products, “Apple Cider Vinegar” is three times as long as it needs to be and built on the tacit assumption that the viewer will wander in and out of the room at will. And yet its braided narratives generate a compelling case study in how a smart and sensible person could end up where Radner did, barefoot on her driveway to help her intestines, lightheaded from hunger, missing her friends, and yet feeling confident, empowered, “in control” of her deadly illness—and how easy it would be for a grifter to lead her to that place.\nWithin a few years of purportedly receiving a death sentence, Gibson had given birth to her son, acquired a robust following on social media, and started a wildly successful healthy-eating app, The Whole Pantry, which featured recipes free of gluten, dairy products, and refined sugar. In 2014, Australia’s Cosmopolitan gave Gibson its “Fun Fearless Female” award, Penguin Books Australia published Gibson’s first cookbook, and Apple selected The Whole Pantry as one of the apps that would come preloaded on its forthcoming Apple Watch.\nGibson might have hummed along indefinitely as a wellness demi-guru, unvetted and unbothered, had she been able to resist the urge to top herself. In the summer of 2014, she announced that her cancer had spread to her blood, spleen, uterus, and liver. (“Please don’t carry my pain,” she begged her followers. “I’ve got this.”) A predictable outpouring of support followed online, but skepticism bubbled up as well. Commenters pointed out that brain cancer tends not to spread beyond the nervous system and that Gibson’s relentless travel schedule did not square with her account of debilitating illness. The journalists Beau Donelly and Nick Toscano began looking into Gibson’s medical history and charitable donations, and, in 2015, exposed her lies in the Melbourne-based daily The Age. (“Apple Cider Vinegar” is based on their 2017 book “The Woman Who Fooled the World.”)\nWhen observers acknowledged the obvious—that Gibson did not look or behave like a person whose body was riddled with cancer—she lashed out, writing, “I have been really unsupported this whole entire time and now that I have my fucking hair back, aren’t poisoning myself with chemo, have a job and do ‘alive people things’ I’m suddenly okay and my limited support is entitled to disregard my emotions, needs and situation even more? Total bullshit.” Nevertheless, Apple soon dumped the app, Simon & Schuster pulped the U.S. print run of her cookbook, and, in 2017, an Australian federal court fined Gibson more than four hundred thousand Australian dollars for violations of consumer law—including a hundred and fifty thousand for breaking a promise to donate a portion of her app’s sales to the family of a boy with terminal brain cancer.\nMilla is closely based on Jessica Ainscough, a prominent Australian influencer who billed herself as the Wellness Warrior. When she was twenty-two, Ainscough was diagnosed with a rare form of skin cancer, and doctors eventually recommended the amputation of her arm at the shoulder. Ainscough decided instead to pursue an alt-treatment known as Gerson therapy, in which the cancer patient “detoxifies” her body by drinking fresh-pressed juice and undergoing coffee enemas. “The way I saw it I had two choices,” Ainscough explained in a 2010 op-ed. “I could rely on the slash, poison and burn method offered to me by the medical profession and become stuck in the ‘cancer patient’ category, or I could take responsibility for my illness and bring my body to optimum health so that it can heal itself.”\nThis ethos had affinities with that of Louise Hay, a best-selling New Age author who ran support groups in the nineteen-eighties and nineties for people with H.I.V. and AIDS, and who argued for the power of positive thinking, verbal affirmation, and unusual diets in overcoming disease. Hay blamed her own cervical cancer on the bitterness she still felt for abuse she had suffered in childhood, and she claimed that therapy, forgiveness, colonic irrigation, and eating two ounces of puréed asparagus three times a day had “resulted in dissolving the cancer naturally.” (In Todd Haynes’s 1995 film, “Safe,” about a woman suffering from a mysterious environmental illness, a wellness guru partly inspired by Hay tells his acolytes that the “only person who can make you sick is you.”)\nAinscough embraced a similar outlook of self-rescue. “I saved my own life,” she declared. It was a mantra of sorts, but not, in the end, a statement of fact. Her mother, who followed the Gerson method after she was diagnosed with breast cancer, died in 2013, two and a half years after her diagnosis, and Ainscough died in 2015, at the age of twenty-nine.\nConspirituality metastasized during the COVID pandemic and is most vividly embodied today in the coterie that surrounds Robert F. Kennedy, Jr.; his anti-vaccine and anti-Big Food nonprofit Children’s Health Defense, where Kennedy served as the chairman and chief litigation counsel from 2015 until 2023; and the Make America Healthy Again (MAHA) movement, where paleo-swole paranoiacs hawk vitamin supplements to mermaid-coiffed warrior moms who warn of lethal food additives in children’s snacks. (Kennedy shares Gibson’s aversion to both water fluoridation and Gardasil; he has referred hundreds of personal-injury lawsuits related to the latter, which he has called “very, very closely connected with severe depression and with suicidal behavior.” Merck, Gardasil’s manufacturer, denies his claims and maintains that its vaccine is safe.)\nThe so-called MAHA moms, some of whom recently showed up at the Senate to support Kennedy’s nomination to lead the Department of Health and Human Services, are “the mothers of children with autism, allergies, and ADHD,” the Free Press, a heterodox online outlet, explained. “Many are former Democrats, but they feel like their cause transcends party lines—shouldn’t everyone want clean water, fresh air, and healthy foods?” These parents have often experienced a radicalizing moment that broke their faith in the medical establishment: a doctor who didn’t listen when they reported a pregnancy or postpartum complication, or who brushed off symptoms of serious illness. Or they may simply feel an anguished need to account for their child’s disease or disability. Kennedy, for one, seems eager to serve this need. In conversations with the journalist Ryan D’Agostino, whose six-year-old son was diagnosed with leukemia in 2016, Kennedy strongly implied that the boy’s cancer was caused by the polio and M.M.R. vaccines. (The only person who can make you sick is you—or your parents, if they had you vaccinated.)\nIn the MAHA swirl, “clean eating,” vaccine skepticism, and even alternative cancer treatments can all become tools for “eliminating toxic exposure,” which is the avowed goal of Children’s Health Defense. This collapse of discrete phenomena is, in part, a consequence of the appeal-to-nature fallacy that dominates the wellness world—the notion that whatever is deemed to be “natural” is superior to the biologically synthetic. What isn’t “natural” is, to borrow one of Kennedy’s favorite words, “poison.” This fallacy is evident, for example, in the writings of Ty Bollinger, one of the under-credentialled experts whom Ainscough cited to support her nutrition plan. Bollinger is now a textbook conspiritualist and Trump supporter whose Web site, the Truth About Cancer, had a mutually beneficial affiliate-marketing relationship with Children’s Health Defense for a time. His wife, Charlene, told the far-right activist Laura Loomer last year, “Cancer is just an imbalance. Your body is out of balance. Something happened and the tumor is actually a blessing.” In November, Charlene claimed to be working with President Trump’s transition team “to put together something beautiful so that Bobby Kennedy can roll out his vision.”\nTrump would seem to share few of the habits or preoccupations of the wellness influencers, and yet their project is in synch with his own. It is apt for affiliates of the party of personal responsibility to suggest that a cancer patient may be culpable for her suffering if she happens to make unnatural choices. This suggestion may even offer some solace to the patient, as at least it offers the illusion of control. And it is apt for a revanchist movement to aspire after an unattainable form of cleanliness and purity in both its customs and its demographics. Alas, neither a body nor a body politic can ever be finished cleaning all the shit out of its system.\nIn “It’s Always Something,” Radner remembers waking up from surgery with her husband, Gene Wilder, at her bedside. “They got it all,” he tells her. “They got everything they could see. They got you clean.” When Radner’s cancer recurs, she is not only frightened and devastated; after becoming “a symbol of getting well,” she writes, she is revealed as “just a fraud.” By becoming ill, Radner is somehow compromised, corrupt. She was “clean” and now she’s dirty. One might wonder if she felt like more of a fake for having cancer than Belle Gibson ever did for not having it.\nWhen Radner writes about the woman with lymphoma who introduced her to macrobiotics, she emphasizes how gorgeous and ethereal she was. She “had golden red curly hair, and when light shone through it she glowed,” Radner writes. She starts calling her the Angel of Life. An angel doesn’t have a body, certainly not a fallible one full of viscera and waste and gore. Her insides wouldn’t run with blood. One imagines some kind of burbling stream, clean and pure, flowing with bone broth or mint-ginger water, sunshine glinting off its surface, and the air so fresh. ♦","isBasedOn":"","articleSection":"cultural comment","author":[{"@type":"Person","name":"Jessica Winter","sameAs":"https:\u002F\u002Fwww.newyorker.com\u002Fcontributors\u002Fjessica-winter"}],"dateModified":"2025-02-06T13:14:26.024-05:00","datePublished":"2025-02-06T13:14:26.024-05:00","headline":"The Cancer Scams That Foreshadowed MAHA","image":["https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67a3c26f05d5a7075deb6fab\u002F16:9\u002Fw_2560,h_1440,c_limit\u002FWinter-AppleCiderVinegar-Gomez.jpg","https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67a3c26f05d5a7075deb6fab\u002F4:3\u002Fw_2560,h_1920,c_limit\u002FWinter-AppleCiderVinegar-Gomez.jpg","https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67a3c26f05d5a7075deb6fab\u002F1:1\u002Fw_2560,h_2560,c_limit\u002FWinter-AppleCiderVinegar-Gomez.jpg"],"keywords":["cultural comment","television","netflix","wellness","hoaxes","audio","_sensitivecontent","splitscreenimagerightinset","onecolumnnarrow","web"],"thumbnailUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67a3c26f05d5a7075deb6fab\u002F2:3\u002Fw_2132,h_3198,c_limit\u002FWinter-AppleCiderVinegar-Gomez.jpg","url":"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fcultural-comment\u002Fthe-cancer-scams-that-foreshadowed-maha","isPartOf":{"@type":"CreativeWork","name":"The New Yorker"},"isAccessibleForFree":true,"alternativeHeadline":"Jessica Winter on the Netflix miniseries “Apple Cider Vinegar,” and the trend of wellness influencers peddling seductive promises of purity to the desperately sick.","description":"Jessica Winter on the Netflix miniseries “Apple Cider Vinegar,” and the trend of wellness influencers peddling seductive promises of purity to the desperately sick.","mainEntityOfPage":{"@type":"WebPage","@id":"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fcultural-comment\u002Fthe-cancer-scams-that-foreshadowed-maha"},"publisher":{"@context":"https:\u002F\u002Fschema.org","@type":"Organization","name":"The New Yorker","logo":{"@type":"ImageObject","url":"https:\u002F\u002Fwww.newyorker.com\u002Fverso\u002Fstatic\u002Fthenewyorker-us\u002Fassets\u002Fthe-new-yorker-seo-logo.jpg","width":"1200px","height":"630px"},"url":"https:\u002F\u002Fwww.newyorker.com"}},{"@context":"https:\u002F\u002Fschema.org\u002F","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"name":"Culture","item":"https:\u002F\u002Fwww.newyorker.com\u002Fculture"},{"@type":"ListItem","position":2,"name":"Television","item":"https:\u002F\u002Fwww.newyorker.com\u002Ftag\u002Ftelevision"},{"@type":"ListItem","position":3,"name":"The Cancer Scams That Foreshadowed *MAHA*{: .small}"}]}],"head.contentID":"67a25dce34700aa0e223bee9","head.pageType":"article","head.photos":{"image-16-9":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67a3c26f05d5a7075deb6fab\u002F16:9\u002Fw_1000,c_limit\u002FWinter-AppleCiderVinegar-Gomez.jpg","image-1-1":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F67a3c26f05d5a7075deb6fab\u002F1:1\u002Fw_1000,c_limit\u002FWinter-AppleCiderVinegar-Gomez.jpg"},"head.firstPublishDate":"2025-02-06T18:14:26.024Z","head.primaryTagsRoot":"tags","head.hasSponsoredContent":false,"head.modifiedDate":"2025-02-06T18:14:26.024Z","head.noIndex":false,"linkBannerData":{"bannerType":"marquee","dek":"","hed":"","image":{},"links":[],"tracking":{"trackingIdentifier":"","attributes":{}}},"linkBannerId":[],"navigation":{"aboutText":"The writers you love. 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In 2023, she won a National Magazine Award for her [columns](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F07\u002F04\u002Fwe-are-not-going-back-to-the-time-before-roe-we-are-going-somewhere-worse) and [essays](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fessay\u002Fis-abortion-sacred) on abortion. Her first book, the essay collection “[Trick Mirror](https:\u002F\u002Fwww.amazon.com\u002FTrick-Mirror-Self-Delusion-Jia-Tolentino\u002Fdp\u002F000829495X),” was published in 2019.","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b79ebe912338a37865e","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b79ebe912338a37865d_tolentino-jia-1.png"}],"metadata":{"contentType":"photo"}},"bio":"Jia Tolentino has been a staff writer at *The New Yorker* since 2016, covering a range of topics in news and culture, including the age of [Instagram face](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fdecade-in-review\u002Fthe-age-of-instagram-face) and, with Ronan Farrow, [Britney Spears’s conservatorship nightmare](https:\u002F\u002Fwww.newyorker.com\u002Fnews\u002Famerican-chronicles\u002Fbritney-spears-conservatorship-nightmare). Previously, she was the deputy editor of Jezebel and a contributing editor at the Hairpin. In 2023, she won a National Magazine Award for her [columns](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2022\u002F07\u002F04\u002Fwe-are-not-going-back-to-the-time-before-roe-we-are-going-somewhere-worse) and [essays](https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fessay\u002Fis-abortion-sacred) on abortion. Her first book, the essay collection “[Trick Mirror](https:\u002F\u002Fwww.amazon.com\u002FTrick-Mirror-Jia-Tolentino\u002Fdp\u002F0525510540),” was published in 2019.","socialMedia":[{"handle":"jiatolentino","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"rabbit-holes","name":"Rabbit Holes"},"channels":[{"name":"Rabbit Holes"}],"hed":"The Repressive, Authoritarian Soul of “Thomas the Tank Engine & Friends”","dek":"","promoHed":"The Repressive, Authoritarian Soul of “Thomas the Tank Engine & Friends”","promoDek":"","url":"culture\u002Frabbit-holes\u002Fthe-repressive-authoritarian-soul-of-thomas-the-tank-engine-and-friends","rubric":"","lede":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59b17b923bdfa71b1433bdc3\u002Fmaster\u002Fpass\u002FTolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","altText":"Toy trains with smiling faces traversing a snow-covered track","aspectRatios":[{"name":"2:1","url":null,"width":3150,"height":1575,"format":null,"modifications":{"crop":{"height":1575,"width":3150,"x":0,"y":488}}},{"name":"2:2","url":null,"width":2094,"height":2094,"format":null,"modifications":{"crop":{"height":2094,"width":2094,"x":756,"y":0}}},{"name":"16:9","url":null,"width":3135,"height":1763,"format":null,"modifications":{"crop":{"height":1763,"width":3135,"x":14,"y":332}}},{"name":"4:3","url":null,"width":2615,"height":1961,"format":null,"modifications":{"crop":{"height":1961,"width":2615,"x":281,"y":134}}},{"name":"1:1","url":null,"width":2095,"height":2095,"format":null,"modifications":{"crop":{"height":2095,"width":2095,"x":555,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F09\u002F07\u002F59b17b9212651c1b1421f77f_Tolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","width":3150,"height":2096,"format":"JPEG","modifications":null}],"caption":"Wilbert Awdry, who created Thomas the Tank Engine, disliked change, venerated order, and craved the administration of punishment.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph by PBS via Everett","filename":"Tolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","id":"59b17b923bdfa71b1433bdc3","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"tout":{"bookMarkedUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F59b17b923bdfa71b1433bdc3\u002Fmaster\u002Fpass\u002FTolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","altText":"Toy trains with smiling faces traversing a snow-covered track","aspectRatios":[{"name":"2:1","url":null,"width":3150,"height":1575,"format":null,"modifications":{"crop":{"height":1575,"width":3150,"x":0,"y":488}}},{"name":"2:2","url":null,"width":2094,"height":2094,"format":null,"modifications":{"crop":{"height":2094,"width":2094,"x":756,"y":0}}},{"name":"16:9","url":null,"width":3135,"height":1763,"format":null,"modifications":{"crop":{"height":1763,"width":3135,"x":14,"y":332}}},{"name":"4:3","url":null,"width":2615,"height":1961,"format":null,"modifications":{"crop":{"height":1961,"width":2615,"x":281,"y":134}}},{"name":"1:1","url":null,"width":2095,"height":2095,"format":null,"modifications":{"crop":{"height":2095,"width":2095,"x":555,"y":0}}},{"name":"master","url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F09\u002F07\u002F59b17b9212651c1b1421f77f_Tolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","width":3150,"height":2096,"format":"JPEG","modifications":null}],"caption":"Wilbert Awdry, who created Thomas the Tank Engine, disliked change, venerated order, and craved the administration of punishment.","contextualBody":null,"contextualCaption":null,"contextualTitle":null,"cropMode":"TOP","credit":"Photograph by PBS via Everett","filename":"Tolentino-Repressive-Authoritarian-Soul-Thomas-Tank-Engine.JPG","id":"59b17b923bdfa71b1433bdc3","metadata":{"contentType":"photo"},"contentWarnings":[],"restrictCropping":false,"__typename":"Photo"},"metadata":{"contentType":"article"}},{"__typename":"Article","id":"59c41bf7c6b56222ba223aa6","allContributors":{"edges":[{"node":{"__typename":"Contributor","id":"590b95026c4c222f03a822b4","url":"contributors\u002Falan-burdick","name":"Alan Burdick","title":"Alan Burdick is the author, most recently, of “[Why Time Flies: A Mostly Scientific Investigation](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F141654027X\u002F?tag=thneyo0f-20).”","type":"AUTHOR","contributorType":"AUTHOR","photo":null,"bio":"Alan Burdick, a former staff writer, joined _The New Yorker_ in 2012, first as a senior editor and then also as the editor of Elements, newyorker.com’s science-and-tech blog. 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His most recent book is “[Wildland: The Making of America’s Fury](https:\u002F\u002Fwww.amazon.com\u002FWildland-Making-Americas-Evan-Osnos\u002Fdp\u002F0374286671).”","type":"AUTHOR","contributorType":"AUTHOR","photo":{"id":"59097b75c14b3c606c109454","aspectRatios":[{"url":"https:\u002F\u002Fgp-prd-global-clips-s3.s3.amazonaws.com\u002Fpublic\u002Ftny-services\u002Fproduction\u002F2017\u002F05\u002F03\u002F59097b75c14b3c606c109453_osnos-evan.png"}],"metadata":{"contentType":"photo"}},"bio":"Evan Osnos joined *The New Yorker* as a staff writer in 2008. His coverage ranges from politics and foreign affairs to white-collar crime and espionage. He has written Profiles of Joe Biden and Xi Jinping, visited North Korea during the nuclear crisis of 2017, and reported from the siege at the U.S. Capitol on January 6, 2021. 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has-dropcap__lead-standard-heading paywall"},"In 1986, Gilda Radner, one of “Saturday Night Live” ’s original ",["a",{"href":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2025\u002F01\u002F20\u002Florne-michaels-profile","isExternal":false},"Not Ready for Prime Time Players"],", was diagnosed with Stage IV ovarian cancer, at the age of forty. She underwent a hysterectomy, chemotherapy, and radiation, entered remission, and became the public face of a support group for cancer patients called the Wellness Community, which focussed on positive thinking. She appeared on the cover of ",["em","Life"]," magazine with the headline “Gilda Radner’s Answer to Cancer: Healing the Body with Mind and Heart.” Then she learned that her cancer had spread."]],["p",{"class":"paywall"},"Overwhelmed by fear and despair, Radner, who had a history of eating disorders, was drawn to members of the Wellness Community who followed a strict macrobiotic diet. “They seemed the least nervous and most in control of their lives,” she observes in her memoir, “",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002FIts-Always-Something-Twentieth-Anniversary\u002Fdp\u002F1439148864","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002FIts-Always-Something-Twentieth-Anniversary\u002Fdp\u002F1439148864"},"isExternal":true},"It’s Always Something"],".” A beautiful woman with lymphoma made macrobiotic meals for Radner and told her that the diet has “cured a lot of people.” Radner hired a live-in macrobiotic chef, who fed her rice cream, miso soup, bean curd, and puréed vegetables, and instructed her to walk in her “stocking feet on the stones in the driveway” to help her intestines. She began to spend more time alone; her friends “asked too many questions about macrobiotics.”"],["p",{"class":"paywall"},"Soon, Radner writes, “I was in outer space—feeling pure, chewing my food, blessed by God, sure that I had cancer under control and that it was disappearing from my body.” In fact, her blood levels of CA-125—an antigen that can be measured to detect ovarian cancer—had tripled, and her weight had dropped to ninety-three pounds. When she re-started chemotherapy, she was severely underweight, dehydrated, and required blood transfusions. Radner died in May, 1989, and it’s possible that her macrobiotic experiment hastened her death."],["journey-inline-newsletter",{"newsletterType":"slim-newsletter","newsletters":[]}],["inline-newsletter",{"newsletterType":"slim-newsletter","newsletters":[]}],["p",{"class":"paywall"},"Of course, conventional medicine, too, was often outmatched by Radner’s illness. Before her cancer was even detected, she had spent ten months going to various doctors with symptoms of fatigue and worsening pain. (An internist thought she had Epstein-Barr; a gastroenterologist wondered if her “problems were emotional.”) Nutrition gave Radner a sense of mastery and self-determination, and her memoir is affecting for how clearly she sees the odd dichotomy of her macrobiotic crusade: it’s at once “bonko, completely nutty” and provides a necessary channel for rerouting her dread and helplessness. “I had been in such desperate straits that this became the panacea,” she writes. “I could get up in the morning. I could live.”"],["p",{"class":"paywall"},"I thought of Radner often while watching the new Netflix miniseries “Apple Cider Vinegar,” which is based on the wretched saga of Belle Gibson (played by Kaitlyn Dever), an Australian wellness influencer. Gibson’s miraculous tale of healing a malignant brain tumor through healthy eating turned out to be a hoax: she never had cancer at all. The series triangulates her lucrative flimflam with the stories of Milla Blake (Alycia Debnam-Carey), an influencer in Gibson’s orbit who treats her rare form of cancer with juicing and enemas, and a barista with cancer named Lucy (Tilda Cobham-Hervey), who has reached the same valley of panicked dejection that Radner did before she climbed into macrobiotics. We watch in horror as Lucy is ensorcelled by Gibson’s fraudulent account of snuffing out her disease with lemon-infused water and goji berries."],["cm-unit"],["p",{"class":"paywall"},"Like so many Netflix products, “Apple Cider Vinegar” is three times as long as it needs to be and built on the tacit assumption that the viewer will wander in and out of the room at will. And yet its braided narratives generate a compelling case study in how a smart and sensible person could end up where Radner did, barefoot on her driveway to help her intestines, lightheaded from hunger, missing her friends, and yet feeling confident, empowered, “in control” of her deadly illness—and how easy it would be for a grifter to lead her to that place."],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"Gibson began building an audience on Instagram in 2013, posting radiant, glossy-lip selfies alongside recipes for protein-infused smoothies and colorful salads. The palette was grapefruit pinks and dark, leafy greens as refracted through a glass of sparkling water; the presentation was as carefully carefree as her silky blowouts. Gibson was young, white, and pretty, with a dainty nose ring, a photogenic child, and an incredible story. Years earlier, she told her followers, physicians had informed her that she had “a severe and malignant brain cancer,” and just weeks or months to live. She abandoned chemotherapy and radiation, even though her “doctors freaked out,” and devised her own treatment plan of clean eating and holistic medicine."]],["p",{"class":"paywall"},"Within a few years of purportedly receiving a death sentence, Gibson had given birth to her son, acquired a robust following on social media, and started a wildly successful healthy-eating app, The Whole Pantry, which featured recipes free of gluten, dairy products, and refined sugar. In 2014, Australia’s ",["em","Cosmopolitan"]," gave Gibson its “Fun Fearless Female” award, Penguin Books Australia published Gibson’s first cookbook, and Apple selected The Whole Pantry as one of the apps that would come preloaded on its forthcoming Apple Watch."],["p",{"class":"paywall"},"Gibson might have hummed along indefinitely as a wellness demi-guru, unvetted and unbothered, had she been able to resist the urge to top herself. In the summer of 2014, she announced that her cancer had spread to her blood, spleen, uterus, and liver. (“Please don’t carry my pain,” she begged her followers. “I’ve got this.”) A predictable outpouring of support followed online, but skepticism bubbled up as well. Commenters pointed out that brain cancer tends not to spread beyond the nervous system and that Gibson’s relentless travel schedule did not square with her account of debilitating illness. The journalists Beau Donelly and Nick Toscano began looking into Gibson’s medical history and charitable donations, and, in 2015, exposed her lies in the Melbourne-based daily ",["em","The Age"],". (“Apple Cider Vinegar” is based on their 2017 book “",["a",{"href":"https:\u002F\u002Fwww.amazon.com\u002FWoman-Who-Fooled-World-darkness-ebook\u002Fdp\u002FB076QKH3DG","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.amazon.com\u002FWoman-Who-Fooled-World-darkness-ebook\u002Fdp\u002FB076QKH3DG"},"isExternal":true},"The Woman Who Fooled the World."],"”)"],["p",{"class":"paywall"},"When observers acknowledged the obvious—that Gibson did not look or behave like a person whose body was riddled with cancer—she lashed out, writing, “I have been really unsupported this whole entire time and now that I have my fucking hair back, aren’t poisoning myself with chemo, have a job and do ‘alive people things’ I’m suddenly okay and my limited support is entitled to disregard my emotions, needs and situation even more? Total bullshit.” Nevertheless, Apple soon dumped the app, Simon & Schuster pulped the U.S. print run of her cookbook, and, in 2017, an Australian federal court fined Gibson more than four hundred thousand Australian dollars for violations of consumer law—including a hundred and fifty thousand for breaking a promise to donate a portion of her app’s sales to the family of a boy with terminal brain cancer."],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"Dever’s performance in “Apple Cider Vinegar” strikes a smart balance between cartoon villainy and untreated personality disorder; her Belle is a pitiable and scary void, a human salad spinner of other people’s desperation, hope, and good faith. But it’s Milla, Belle’s rival influencer, who is the series’ most psychologically fascinating character. Both of these women have a predatory stake in quackery, but it’s Milla who has actually staked her life on it."]],["inline-embed",{"type":"cneinterlude","props":{"brand":"newyorker","embeddedVideos":[],"hasExcludedEmbed":false,"playerBase":"https:\u002F\u002Fplayer.cnevids.com","isRightRail":false,"relatedVideo":{"showRelatedVideo":false,"brand":"newyorker","related":null,"pageSize":12}}}],["p",{"class":"paywall"},"Milla is closely based on Jessica Ainscough, a prominent Australian influencer who billed herself as the Wellness Warrior. When she was twenty-two, Ainscough was diagnosed with a rare form of skin cancer, and doctors eventually recommended the amputation of her arm at the shoulder. Ainscough decided instead to pursue an alt-treatment known as Gerson therapy, in which the cancer patient “detoxifies” her body by drinking fresh-pressed juice and undergoing coffee enemas. “The way I saw it I had two choices,” Ainscough ",["a",{"href":"https:\u002F\u002Fwww.abc.net.au\u002Fnews\u002F2010-04-07\u002F33482","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.abc.net.au\u002Fnews\u002F2010-04-07\u002F33482"},"isExternal":true},"explained"]," in a 2010 op-ed. “I could rely on the slash, poison and burn method offered to me by the medical profession and become stuck in the ‘cancer patient’ category, or I could take responsibility for my illness and bring my body to optimum health so that it can heal itself.”"],["p",{"class":"paywall"},"This ethos had affinities with that of Louise Hay, a best-selling New Age author who ran support groups in the nineteen-eighties and nineties for people with H.I.V. and ",["em",{"class":"small"},"AIDS"],", and who argued for the power of positive thinking, verbal affirmation, and unusual diets in overcoming disease. Hay blamed her own cervical cancer on the bitterness she still felt for abuse she had suffered in childhood, and she claimed that therapy, forgiveness, colonic irrigation, and eating two ounces of puréed asparagus three times a day had “resulted in dissolving the cancer naturally.” (In Todd Haynes’s 1995 film, “",["a",{"href":"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fculture-desk\u002Ftodd-hayness-masterpiece-safe-is-now-a-tale-of-two-plagues","isExternal":false},"Safe"],",” about a woman suffering from a mysterious environmental illness, a wellness guru partly inspired by Hay tells his acolytes that the “only person who can make you sick is you.”)"],["p",{"class":"paywall"},"Ainscough embraced a similar outlook of self-rescue. “I saved my own life,” she declared. It was a mantra of sorts, but not, in the end, a statement of fact. Her mother, who followed the Gerson method after she was diagnosed with breast cancer, died in 2013, two and a half years after her diagnosis, and Ainscough died in 2015, at the age of twenty-nine."],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"In 2011, the sociologists Charlotte Ward and David Voas coined the term “conspirituality” to define a belief system that fuses New Age spirituality with a conspiracy-theory mind-set. They seemed to foretell Gibson and Ainscough’s formula of positivity, “natural” remedies, and deep distrust of the medical establishment. Like the wellness warriors of today, Gibson fearmongered about fluoridated water and the H.P.V. vaccine—she claimed, without evidence, that Gardasil had caused her brain tumor. Ainscough, who told her followers that cancer is symptomatic of a “toxic diet, toxic mind and toxic environment,” believed that corporations and Big Pharma were incentivized to maintain a status quo of toxicity. “I don’t believe they will ever find a cure, and if they do would they make it public knowledge? Not unless another bread-winning disease breaks out to replace cancer,” Ainscough wrote in her 2010 op-ed. She went on, “It’s too big to cure.”"]],["p",{"class":"paywall"},"Conspirituality metastasized during the ",["em",{"class":"small"},"COVID"]," pandemic and is most vividly embodied today in the coterie that surrounds ",["a",{"href":"https:\u002F\u002Fwww.newyorker.com\u002Fnews\u002Fthe-lede\u002Fthe-junk-science-of-robert-f-kennedy-jr","isExternal":false},"Robert F. Kennedy, Jr."],"; his anti-vaccine and anti-Big Food nonprofit Children’s Health Defense, where Kennedy served as the chairman and chief litigation counsel from 2015 until 2023; and the Make America Healthy Again (",["em",{"class":"small"},"MAHA"],") movement, where paleo-swole paranoiacs hawk vitamin supplements to mermaid-coiffed warrior moms who warn of lethal food additives in children’s snacks. (Kennedy shares Gibson’s aversion to both water fluoridation and Gardasil; he has referred hundreds of personal-injury lawsuits related to the latter, which he has called “very, very closely connected with severe depression and with suicidal behavior.” Merck, Gardasil’s manufacturer, denies his claims and maintains that its vaccine is safe.)"],["p",{"class":"paywall"},"The so-called ",["em",{"class":"small"},"MAHA"]," moms, some of whom recently showed up at the Senate to support Kennedy’s nomination to lead the Department of Health and Human Services, are “the mothers of children with autism, allergies, and ADHD,” the ",["em","Free Press"],", a heterodox online outlet, ",["a",{"href":"https:\u002F\u002Fwww.thefp.com\u002Fp\u002Fmaha-moms-rfk-jr-hhs-senate-hearing-trump-vaccines?utm_source=twitter&utm_medium=organic-social","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.thefp.com\u002Fp\u002Fmaha-moms-rfk-jr-hhs-senate-hearing-trump-vaccines?utm_source=twitter&utm_medium=organic-social"},"isExternal":true},"explained"],". “Many are former Democrats, but they feel like their cause transcends party lines—shouldn’t everyone want clean water, fresh air, and healthy foods?” These parents have often experienced a radicalizing moment that broke their faith in the medical establishment: a doctor who didn’t listen when they reported a pregnancy or postpartum complication, or who brushed off symptoms of serious illness. Or they may simply feel an anguished need to account for their child’s disease or disability. Kennedy, for one, seems eager to serve this need. In ",["a",{"href":"https:\u002F\u002Fwww.esquire.com\u002Fnews-politics\u002Fa63559859\u002Frfk-jr-cancer-anti-vaccine\u002F","rel":"nofollow noopener","attributes":{"data-offer-url":"https:\u002F\u002Fwww.esquire.com\u002Fnews-politics\u002Fa63559859\u002Frfk-jr-cancer-anti-vaccine\u002F"},"isExternal":true},"conversations"]," with the journalist Ryan D’Agostino, whose six-year-old son was diagnosed with leukemia in 2016, Kennedy strongly implied that the boy’s cancer was caused by the polio and M.M.R. vaccines. (The only person who can make you sick is you—or your parents, if they had you vaccinated.)"],["p",{"class":"paywall"},"In the ",["em",{"class":"small"},"MAHA"]," swirl, “clean eating,” vaccine skepticism, and even alternative cancer treatments can all become tools for “eliminating toxic exposure,” which is the avowed goal of Children’s Health Defense. This collapse of discrete phenomena is, in part, a consequence of the appeal-to-nature fallacy that dominates the wellness world—the notion that whatever is deemed to be “natural” is superior to the biologically synthetic. What isn’t “natural” is, to borrow one of Kennedy’s favorite words, “poison.” This fallacy is evident, for example, in the writings of Ty Bollinger, one of the under-credentialled experts whom Ainscough cited to support her nutrition plan. Bollinger is now a textbook conspiritualist and Trump supporter whose Web site, the Truth About Cancer, had a mutually beneficial affiliate-marketing ",["a",{"href":"https:\u002F\u002Fapnews.com\u002Farticle\u002Fanti-vaccine-bollinger-coronavirus-disinformation-a7b8e1f33990670563b4c469b462c9bf","isExternal":false},"relationship"]," with Children’s Health Defense for a time. His wife, Charlene, told the far-right activist Laura Loomer last year, “Cancer is just an imbalance. Your body is out of balance. Something happened and the tumor is actually a blessing.” In November, Charlene claimed to be working with President Trump’s transition team “to put together something beautiful so that Bobby Kennedy can roll out his vision.”"],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"On the HBO series “",["a",{"href":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2018\u002F09\u002F03\u002Fsuccessions-satisfyingly-nasty-family-ties","isExternal":false},"Succession"],",” a pair of billionaire brothers hand the Presidential election to a fascist-lite provocateur, whose victory speech is a paean to nationalist hygiene that Mussolini might have admired: “Don’t we long, sometimes, for something clean, once, in this polluted land? That’s what I hope to bring. Not something grubby with compromise. Something clean and true and refreshing. Something proud and pure.” President Trump is famously attracted to such imagery. He has called his political opponents “vermin”; he has proposed, of postwar Gaza, that “we just clean out that whole thing”; he has said, of immigrants, “They’re poisoning the blood of our country.” They are the bacteria that need to be colonically irrigated, the liver toxin that needs to be juice-cleansed."]],["p",{"class":"paywall"},"Trump would seem to share few of the habits or preoccupations of the wellness influencers, and yet their project is in synch with his own. It is apt for affiliates of the party of personal responsibility to suggest that a cancer patient may be culpable for her suffering if she happens to make unnatural choices. This suggestion may even offer some solace to the patient, as at least it offers the illusion of control. And it is apt for a revanchist movement to aspire after an unattainable form of cleanliness and purity in both its customs and its demographics. Alas, neither a body nor a body politic can ever be finished cleaning all the shit out of its system."],["p",{"class":"paywall"},"In “It’s Always Something,” Radner remembers waking up from surgery with her husband, Gene Wilder, at her bedside. “They got it all,” he tells her. “They got everything they could see. They got you clean.” When Radner’s cancer recurs, she is not only frightened and devastated; after becoming “a symbol of getting well,” she writes, she is revealed as “",["em","just a fraud"],".” By becoming ill, Radner is somehow compromised, corrupt. She was “clean” and now she’s dirty. One might wonder if she felt like more of a fake for having cancer than Belle Gibson ever did for not having it."],["p",{"class":"paywall"},"When Radner writes about the woman with lymphoma who introduced her to macrobiotics, she emphasizes how gorgeous and ethereal she was. She “had golden red curly hair, and when light shone through it she glowed,” Radner writes. She starts calling her the Angel of Life. An angel doesn’t have a body, certainly not a fallible one full of viscera and waste and gore. Her insides wouldn’t run with blood. One imagines some kind of burbling stream, clean and pure, flowing with bone broth or mint-ginger water, sunshine glinting off its surface, and the air so fresh. ♦"]],"pageStructure":[["inline-embed",0,"cneaudio"],["inline-embed",186,"callout"],["p",123],["p",83],["p",114],["p",135],["cm-unit",0],["p",99],["inline-embed",230,"callout"],["p",85],["p",144],["p",139],["inline-embed",144,"callout"],["inline-embed",0,"cneinterlude"],["p",134],["p",131],["p",64],["inline-embed",294,"callout"],["p",126],["p",184],["p",190],["inline-embed",252,"callout"],["p",119],["p",102],["p",96]],"hasAffiliateLinks":true,"affiliateLinksCount":2,"isCommerceContent":true,"contributorSpotLightProps":{"header":{"name":"Jessica Winter","title":"Jessica Winter joined The New Yorker as an editor in 2017 and became a staff writer in 2024, covering family and education. 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href=\"\u002Fcontributors\u002Fjessica-winter\"\u003EJessica Winter\u003C\u002Fa\u003E joined \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E as an editor in 2017 and became a staff writer in 2024, covering family and education. Previously, she served as an editor at Slate and at \u003Cem\u003ETime\u003C\u002Fem\u003E. For \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E, Winter has \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fscience\u002Fannals-of-medicine\u002Fwhat-the-life-of-the-mother-might-mean-in-a-post-roe-america\"\u003Ereported\u003C\u002Fa\u003E \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fnews\u002Fdaily-comment\u002Fthe-supreme-court-decision-that-defined-abortion-rights-for-thirty-years\"\u003Eextensively\u003C\u002Fa\u003E on the \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fnews\u002Fnews-desk\u002Fthe-dobbs-decision-has-unleashed-legal-chaos-for-doctors-and-patients\"\u003Elandscape\u003C\u002Fa\u003E for \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fscience\u002Fannals-of-medicine\u002Fthe-fight-over-ivf-is-only-beginning\"\u003Ereproductive rights\u003C\u002Fa\u003E in the U.S. ... \u003Ca href=\"\u002Fcontributors\u002Fjessica-winter\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fjessica-winter\"\u003EJessica Winter\u003C\u002Fa\u003E joined The New Yorker as an editor in 2017 and became a staff writer in 2024, covering family and education. 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