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            "excerpt": "A German newspaper commissioned an article from me but then refused to publish it.",
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            "title": "Pronatalist research shows local governments can boost birth rates in 1,741 Japanese cities",
            "excerpt": "- Tokyo and Osaka share similar urban fertility penalties, while Nagoya avoided them with robust child welfare measures.  \n- Japan’s fertility rate stands at 1.38, far below the 2.07 replacement level.  \n- Fewer than 800,000 babies were born in 2022, marking the lowest figure since records began in 1899.  \n- By 2070, a 38.7% elderly dependency ratio could undermine pension systems and cripple local economies.  ",
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            "title": "2026 Opening Night: Salman Rushdie — Festival of Dangerous Ideas",
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            "title": "Treat big tech like big tobacco",
            "excerpt": "- Big Tech’s problems mirror Big Tobacco, not in size but in the addictive, harmful nature of their products.  \n- Modern social media fosters misery, fear of missing out, and negative externalities, even for those who do not actively use it.  \n- These platforms act as active curators, so removing their special legal protections would allow those harmed to hold them liable.  \n- Reinforcement learning and AI-generated content threaten to intensify these issues by further gamifying human attention.  ",
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            "highlights": "Treat Big Tech like Big Tobacco\n\nThe problem with TikTok and Facebook isn't their size The problem with Big Tobacco was not that it could charge excess prices because of its market power. The problem with Big Tobacco was that cigarettes were too cheap Cigarettes caused both externalities to society and also internalities between the higher-level self that wanted to quit smoking and the primary self that could not quit an addictive substance. So, we taxed and regulated their use. The fight regarding social media platforms has centered around antitrust and the sheer size of Big Tech companies. But these platforms are not so much a problem because they are big; they are big because they are a problem. Policy solutions need to actually address the main problem with the brain-cooking internet. Competition is rampant. The problem is what all these companies are competing to do. The data we have, let alone the data I expect we’ll eventually have, indicates that the modern internet is addictive, makes us miserable, and perhaps makes us hate each other. One study showed large externalities to nonusers of TikTok and Instagram, leading many people to use the sites for FOMO reasons when they would prefer not to. Others show people are happier when they’re paid to stay away from social media. At a societal level, across the world, we’ve seen preliminary evidence of the damage from addictive social media, but For three decades, internet providers were merely passive hosts of third-party content, immune from liability faced by publishers. That grant of immunity was foundational, and the costs of such freedom were wildly outweighed by the benefits of the internet.\n\nBoth of these facts are no longer true. Social media companies are no longer passive hosts but active curators The answer is not to destroy these companies or pull the government into the messy and probably unconstitutional world of directly regulating speech. The answer is to remove the special protections they have been granted and finally allow people harmed by these products to hold these companies liable. we have learned over the course of computing history that reinforcement learning with a clean reward signal allows computers to beat humans in a wide range of domains. When computers are given a game with an objective function and enough computing power, they master the game. The problem is that human attention can also be gamified Big Tech has been trying to master our attention with content created by other humans. But soon, we may be contending with AI-generated content created by the very same platforms that know what we pay attention to the most",
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            "title": "The composer making a hip-hop musical about Anne Frank",
            "excerpt": "- “Slam Frank” is a satirical hip-hop musical reimagining Anne Frank as a Latina teen in “the barrios of Frankfurt,” with an irreverent, intersectional twist.  \n- Critics’ reactions range from praise—calling it “clever,” “provocative,” or potentially able to “save Broadway”—to condemnation as “grotesque” and “deeply offensive.”  \n- The cast includes a queer Mexican American lead, a non-Jewish actor playing Margot, and a Black actor playing Anne’s mother, who wrestles with how the show’s edgy content might alienate friends and colleagues.  \n- Extended beyond its initial booking, “Slam Frank” may move to a larger theatre next year, driven by its controversial and unexpectedly popular run.  ",
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            "highlights": "Andrew Fox was struck by a transcendently bad idea. He would turn the story of Anne Frank into a satirical hip-hop musical: intersectional, inclusive, and inane a theatre-loving composer who had grown dispirited by the industry in general, and by humorless and preachy productions in particular in 2022, he came across a debate over whether or not Anne Frank was the beneficiary of “white privilege”—notwithstanding her Jewish identity, for which she was hunted down by Nazi soldiers and shipped to the Bergen-Belsen concentration camp, where she died, in 1945, at the age of fifteen He decided that his Anne Frank would not be white but rather Latina, having grown up in “the barrios of Frankfurt,” with a closeted father who loves to remind people that he is neurodivergent In defiance of cautious theatre professionals—and, perhaps, of common sense—“Slam Frank” lurched to life. Fox arranged a top-secret table read, booked under a pseudonym, in order to limit the blowback if people hated it. He staged a one-off performance and then, in September, “Slam Frank” began a developmental run at Asylum NYC the reaction to “Slam Frank” has been generally positive—surprisingly so, perhaps, given Fox’s evident desire to annoy just about everyone The New York Times described the show as “clever” and “gleefully provocative”; the London Times called it “the most brilliant new musical in New York City,” and voiced a hope that it could “save Broadway.” Fox News called it “grotesque,” and someone started an online petition that labelled the production “deeply offensive” and demanded that it be cancelled Slam Frank” was originally booked for three weeks, which turned into four months making sure that the songs didn’t play merely as jokes. “If I’m writing this big queer anthem, I need the first three minutes of it, at least—before it goes off the rails—to be something that a bunch of queer teen-agers would want to perform in their college theatre program,” Fox says. there is a well-executed pivot, and the dark humor suddenly goes pitch-black; because some of the seats are practically on the stage, you can watch attendees instinctively cover their mouths as they figure out what’s happening “Everything I was watching assumed that the audience felt a certain way,” he says, recalling in particular a production that seemed to him like a “Hamilton” ripoff, and that seemed to be premised on the idea that everyone in the audience shared the creators’ critique of America. “I just kept thinking, I don’t think I’m ever going to see anything good, ever again,” he remembers. One important influence is Lin-Manuel Miranda Another just-as-important precursor is “Book of Mormon,” the determinedly offensive musical that became an unlikely Broadway hit PJ Adzima, one of the producers of “Slam Frank,” spent years playing Elder McKinley in “Book of Mormon,” in real life, he seems to practice what he does not preach: in casting his main character, he put out a call for a “Latina” actor with “excellent rapping skills,” and eventually he found Olivia Bernábe, a queer Mexican American actor who uses they/them pronouns, and who brings astonishing energy and unexpected sympathy to the role of Anne Frank “I read the script, and it actually wasn’t offensive in the ways I thought it was going to be,” Anya van Hoogstraten plays Anne’s older sister, Margot, who is pious and quiet, at least at first, although her vision of Jewish identity eventually scrambles the play’s moral framework. Van Hoogstraten is not Jewish there are two specific moments in the show when audience members sometimes walk out Austen Horne, the Black woman who plays Anne’s mother, Edith, wasn’t so gleeful. “Not every offended person is created equal,” she said, quietly. When people talk about the value of offensive art, they’re usually talking about art that offends other people, like “Book of Mormon,” with its affectionate mockery of the Church of Jesus Christ of Latter-day Saints. (And, for that matter, its slightly less affectionate mockery of Uganda.) But Horne, whose big moment in the show is a marvellously overcooked slam poem about the patriarchy, said that she was still figuring out how to balance her enthusiasm for the production with the knowledge that many of the “young, queer, radical, leftist people” in her life felt differently. “I’ve had friends come to a show where there’s a standing ovation, and my friends are the only people not standing, because they’re so offended by some of the things that have happened,” she said. “It’s taking a strain on a lot of my personal relationships, and I don’t know what it will bring for my career in the future. But I’ve been so grateful to be a part of it.” the producers, who are hoping that, sometime next year, “Slam Frank” might move to a bigger theatre—someplace a bit closer to Broadway in scale, if not location",
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            "title": "The holy grail of capitalism",
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                        "text": "Andrew Fox was struck by a transcendently bad idea. He would turn the story of Anne Frank into a satirical hip-hop musical: intersectional, inclusive, and inane",
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                        "text": "in 2022, he came across a debate over whether or not Anne Frank was the beneficiary of “white privilege”—notwithstanding her Jewish identity, for which she was hunted down by Nazi soldiers and shipped to the Bergen-Belsen concentration camp, where she died, in 1945, at the age of fifteen",
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                        "text": "He decided that his Anne Frank would not be white but rather Latina, having grown up in “the barrios of Frankfurt,” with a closeted father who loves to remind people that he is neurodivergent",
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                        "text": "In defiance of cautious theatre professionals—and, perhaps, of common sense—“Slam Frank” lurched to life. Fox arranged a top-secret table read, booked under a pseudonym, in order to limit the blowback if people hated it. He staged a one-off performance and then, in September, “Slam Frank” began a developmental run at Asylum NYC",
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                        "text": "the reaction to “Slam Frank” has been generally positive—surprisingly so, perhaps, given Fox’s evident desire to annoy just about everyone",
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                        "text": "The New York Times described the show as “clever” and “gleefully provocative”; the London Times called it “the most brilliant new musical in New York City,” and voiced a hope that it could “save Broadway.”",
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                        "text": "Fox News called it “grotesque,” and someone started an online petition that labelled the production “deeply offensive” and demanded that it be cancelled",
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                        "text": "Slam Frank” was originally booked for three weeks, which turned into four months",
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                        "text": "making sure that the songs didn’t play merely as jokes. “If I’m writing this big queer anthem, I need the first three minutes of it, at least—before it goes off the rails—to be something that a bunch of queer teen-agers would want to perform in their college theatre program,” Fox says.",
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                        "text": "there is a well-executed pivot, and the dark humor suddenly goes pitch-black; because some of the seats are practically on the stage, you can watch attendees instinctively cover their mouths as they figure out what’s happening",
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                        "text": "“Everything I was watching assumed that the audience felt a certain way,” he says, recalling in particular a production that seemed to him like a “Hamilton” ripoff, and that seemed to be premised on the idea that everyone in the audience shared the creators’ critique of America. “I just kept thinking, I don’t think I’m ever going to see anything good, ever again,” he remembers.",
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                        "text": "One important influence is Lin-Manuel Miranda",
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                        "text": "Another just-as-important precursor is “Book of Mormon,” the determinedly offensive musical that became an unlikely Broadway hit",
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                        "text": "in real life, he seems to practice what he does not preach: in casting his main character, he put out a call for a “Latina” actor with “excellent rapping skills,” and eventually he found Olivia Bernábe, a queer Mexican American actor who uses they/them pronouns, and who brings astonishing energy and unexpected sympathy to the role of Anne Frank",
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                        "text": "Anya van Hoogstraten plays Anne’s older sister, Margot, who is pious and quiet, at least at first, although her vision of Jewish identity eventually scrambles the play’s moral framework. Van Hoogstraten is not Jewish",
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                        "text": "Austen Horne, the Black woman who plays Anne’s mother, Edith, wasn’t so gleeful. “Not every offended person is created equal,” she said, quietly. When people talk about the value of offensive art, they’re usually talking about art that offends other people, like “Book of Mormon,” with its affectionate mockery of the Church of Jesus Christ of Latter-day Saints. (And, for that matter, its slightly less affectionate mockery of Uganda.) But Horne, whose big moment in the show is a marvellously overcooked slam poem about the patriarchy, said that she was still figuring out how to balance her enthusiasm for the production with the knowledge that many of the “young, queer, radical, leftist people” in her life felt differently. “I’ve had friends come to a show where there’s a standing ovation, and my friends are the only people not standing, because they’re so offended by some of the things that have happened,” she said. “It’s taking a strain on a lot of my personal relationships, and I don’t know what it will bring for my career in the future. But I’ve been so grateful to be a part of it.”",
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            "excerpt": "- “Slam Frank” is a satirical hip-hop musical reimagining Anne Frank as a Latina teen in “the barrios of Frankfurt,” with an irreverent, intersectional twist.  \n- Critics’ reactions range from praise—calling it “clever,” “provocative,” or potentially able to “save Broadway”—to condemnation as “grotesque” and “deeply offensive.”  \n- The cast includes a queer Mexican American lead, a non-Jewish actor playing Margot, and a Black actor playing Anne’s mother, who wrestles with how the show’s edgy content might alienate friends and colleagues.  \n- Extended beyond its initial booking, “Slam Frank” may move to a larger theatre next year, driven by its controversial and unexpectedly popular run.",
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            "highlights": "Andrew Fox was struck by a transcendently bad idea. He would turn the story of Anne Frank into a satirical hip-hop musical: intersectional, inclusive, and inane a theatre-loving composer who had grown dispirited by the industry in general, and by humorless and preachy productions in particular in 2022, he came across a debate over whether or not Anne Frank was the beneficiary of “white privilege”—notwithstanding her Jewish identity, for which she was hunted down by Nazi soldiers and shipped to the Bergen-Belsen concentration camp, where she died, in 1945, at the age of fifteen He decided that his Anne Frank would not be white but rather Latina, having grown up in “the barrios of Frankfurt,” with a closeted father who loves to remind people that he is neurodivergent In defiance of cautious theatre professionals—and, perhaps, of common sense—“Slam Frank” lurched to life. Fox arranged a top-secret table read, booked under a pseudonym, in order to limit the blowback if people hated it. He staged a one-off performance and then, in September, “Slam Frank” began a developmental run at Asylum NYC the reaction to “Slam Frank” has been generally positive—surprisingly so, perhaps, given Fox’s evident desire to annoy just about everyone The New York Times described the show as “clever” and “gleefully provocative”; the London Times called it “the most brilliant new musical in New York City,” and voiced a hope that it could “save Broadway.” Fox News called it “grotesque,” and someone started an online petition that labelled the production “deeply offensive” and demanded that it be cancelled Slam Frank” was originally booked for three weeks, which turned into four months making sure that the songs didn’t play merely as jokes. “If I’m writing this big queer anthem, I need the first three minutes of it, at least—before it goes off the rails—to be something that a bunch of queer teen-agers would want to perform in their college theatre program,” Fox says. there is a well-executed pivot, and the dark humor suddenly goes pitch-black; because some of the seats are practically on the stage, you can watch attendees instinctively cover their mouths as they figure out what’s happening “Everything I was watching assumed that the audience felt a certain way,” he says, recalling in particular a production that seemed to him like a “Hamilton” ripoff, and that seemed to be premised on the idea that everyone in the audience shared the creators’ critique of America. “I just kept thinking, I don’t think I’m ever going to see anything good, ever again,” he remembers. One important influence is Lin-Manuel Miranda Another just-as-important precursor is “Book of Mormon,” the determinedly offensive musical that became an unlikely Broadway hit PJ Adzima, one of the producers of “Slam Frank,” spent years playing Elder McKinley in “Book of Mormon,” in real life, he seems to practice what he does not preach: in casting his main character, he put out a call for a “Latina” actor with “excellent rapping skills,” and eventually he found Olivia Bernábe, a queer Mexican American actor who uses they/them pronouns, and who brings astonishing energy and unexpected sympathy to the role of Anne Frank “I read the script, and it actually wasn’t offensive in the ways I thought it was going to be,” Anya van Hoogstraten plays Anne’s older sister, Margot, who is pious and quiet, at least at first, although her vision of Jewish identity eventually scrambles the play’s moral framework. Van Hoogstraten is not Jewish there are two specific moments in the show when audience members sometimes walk out Austen Horne, the Black woman who plays Anne’s mother, Edith, wasn’t so gleeful. “Not every offended person is created equal,” she said, quietly. When people talk about the value of offensive art, they’re usually talking about art that offends other people, like “Book of Mormon,” with its affectionate mockery of the Church of Jesus Christ of Latter-day Saints. (And, for that matter, its slightly less affectionate mockery of Uganda.) But Horne, whose big moment in the show is a marvellously overcooked slam poem about the patriarchy, said that she was still figuring out how to balance her enthusiasm for the production with the knowledge that many of the “young, queer, radical, leftist people” in her life felt differently. “I’ve had friends come to a show where there’s a standing ovation, and my friends are the only people not standing, because they’re so offended by some of the things that have happened,” she said. “It’s taking a strain on a lot of my personal relationships, and I don’t know what it will bring for my career in the future. But I’ve been so grateful to be a part of it.” the producers, who are hoping that, sometime next year, “Slam Frank” might move to a bigger theatre—someplace a bit closer to Broadway in scale, if not location",
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            "excerpt": "Investigative commentary on Australian business and finance, led by Joe Aston.",
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            "title": "Treat big tech like big tobacco",
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            "link": "https://www.theargumentmag.com/p/treat-big-tech-like-big-tobacco",
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            "highlights": "Treat Big Tech like Big Tobacco\n\nThe problem with TikTok and Facebook isn't their size The problem with Big Tobacco was not that it could charge excess prices because of its market power. The problem with Big Tobacco was that cigarettes were too cheap Cigarettes caused both externalities to society and also internalities between the higher-level self that wanted to quit smoking and the primary self that could not quit an addictive substance. So, we taxed and regulated their use. The fight regarding social media platforms has centered around antitrust and the sheer size of Big Tech companies. But these platforms are not so much a problem because they are big; they are big because they are a problem. Policy solutions need to actually address the main problem with the brain-cooking internet. Competition is rampant. The problem is what all these companies are competing to do. The data we have, let alone the data I expect we’ll eventually have, indicates that the modern internet is addictive, makes us miserable, and perhaps makes us hate each other. One study showed large externalities to nonusers of TikTok and Instagram, leading many people to use the sites for FOMO reasons when they would prefer not to. Others show people are happier when they’re paid to stay away from social media. At a societal level, across the world, we’ve seen preliminary evidence of the damage from addictive social media, but For three decades, internet providers were merely passive hosts of third-party content, immune from liability faced by publishers. That grant of immunity was foundational, and the costs of such freedom were wildly outweighed by the benefits of the internet.\n\nBoth of these facts are no longer true. Social media companies are no longer passive hosts but active curators The answer is not to destroy these companies or pull the government into the messy and probably unconstitutional world of directly regulating speech. The answer is to remove the special protections they have been granted and finally allow people harmed by these products to hold these companies liable. we have learned over the course of computing history that reinforcement learning with a clean reward signal allows computers to beat humans in a wide range of domains. When computers are given a game with an objective function and enough computing power, they master the game. The problem is that human attention can also be gamified Big Tech has been trying to master our attention with content created by other humans. But soon, we may be contending with AI-generated content created by the very same platforms that know what we pay attention to the most",
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            "highlights": "Sometimes bugs have symptoms beyond belief. This is a collection of such stories from around the web.",
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