Describing himself as a "private person" Kortuem said Heated Rivalry had "sparked" something in him and inspired him to come out publicly. "I realised it is finally time to share a journey I have kept close to the vest for a long time," he said. He continued: "I felt I had to hide parts of myself for far too long," as he shared his experience growing up as the youngest of four boys in Minnesota where sports were a big part of life.
He said it would not even be wise to share something like that with your spouse. Now she thinks less of you, and she always will. She's not going to be able to get that out of her head, Walsh said. She might pretend to be sympathetic, or maybe she won't even pretend. What do you want? She's gonna pat you on the head? He continued, She's going to think less of you, and the same goes for anyone you divulge this information to.
I'm gonna miss toxic masculinity, says the comedian Kiry Shabazz. I feel like it's going to be in a museum someday. In the ensuing standup routine, Shabazz describes a fight with a friend who, like him, is doing the work to be a better person. He called the friend several unprintable names while acknowledging: I'm only calling you that because culturally that's how I know how to express myself. The friend's reply to the torrent of insults: I hear you and I receive that.
Camilo grew up surrounded by adults, yet without a stable father. His mother moved from one relationship to another, each new man arriving with promises of permanence and leaving with silence. By the time Camilo reached adolescence, he had called five different men "father," and none of them stayed. What formed inside him was not only grief, but confusion about what authority, protection, and masculinity were supposed to look like.
Gopnik's piece sent me back to John Ruskin, whom he cites as "the greatest of architectural critics." In "The Stones of Venice," Ruskin insists that buildings record not just the ideals of those who commissioned them but also the conditions of those who built them. The East Wing was grafted onto an original structure that was built in part by enslaved people. Its neoclassical form proclaimed republican ideals; its production betrayed them.
Two actors are wriggling across the stage on their bellies. They're earthworms, or maybe simply brothers, Cricket and Coyote, who want to become earthworms. They're planning to write a screenplay together, and one suggests making their movie about worms. But "I thought we were writing something about what it means to come from the same root," the other brother complains. "A movie, a Western, brothers killing men and running amuck in the desert."
Microplastics are to men what Norway is to whales#MeToo movement has been to men what ICC has been to Benjamin NetanyahuVatican has been to men what Vatican has been to priestsIslam has been to men what oil fields have been to comedyPop culture has been to men what Sear's Catalog has been to pop cultureJustice has been to men what justice has been to Germany what Germany has been to literaturewhat Germany has been to genocide
Early this year, Mark Zuckerberg made headlines by saying corporate culture needs more "masculine energy." This sentiment was echoed by Secretary of Defense Pete Hegseth's call for the military-an employer of 2.1 million Americans-to return to a "warrior ethos", promoting traditional masculine standards like aggression and athleticism. And yet, according to recent news reports, recruits at ICE (another workplace) are struggling to pass basic fitness tests, and Hegseth allegedly installed a makeup room at the Pentagon.
It's about the platforms that facilitate it, and how social media diverts attention away from things like reading and toward things that largely don't matter. Josh says it himself: in fairness, short-form content is slightly more engaging than Macbeth quotation flashcards. That's truly worrying. It's true that the education system can and should do better, but I also think we need reminding that young people have always felt alienated from the education system.
Paul Kooiker, known for his provocative and surreal exploration of the human body, identity and voyeurism, captures the spirit of the Washington DC punk scene in his portrait series of author, musician and filmmaker Ian Svenonius, who wears Tatras. Kooiker's story for Another Man Volume II Issue IV, will be showcased at Dover Street Market Paris during Paris Photo, alongside other shoots from the edition by JH Engström, Thomas Mailaender and Chardchakaj Waikawee.
The one thing I really couldn't get purchase on from your essay is I never got a sense of whether there were female virtues at all from your piece. If you want to know what I like about women. No, that's not my question. You can ask me. In fact, I invite you to commission from me an entire essay on the subject. What I like about women. My freelance rates are very reasonable. What do you like about women, Helen?
What is it all for, these early mornings and evenings in the park with her notebook? The bruises and the pain? She wonders about it many times, but is quiet, self-conscious. She does not spend too much time trying to answer the question. And whatever answers she comes by are less interesting, anyway, than the quality of the light at dawn, and the crash of bodies, and what she's recording in the notebook.
How do you like your men? Yes, obviously, we shouldn't be dismissively taxonomising a whole gender like boxed Barbies. But in the era of tradwives and nu-gen gold diggers, in which the manosphere remains alive and kick(box)ing, telling teenage boys lies about women, I reckon there's a way to go before we reach reductive objectification parity. Does that make it OK? No. Am I going to do it anyway? Yes, a bit.
A filmmaker who wanted to make a politically contentious movie couldn't do much better than to set it in mid-2020, when the United States, under the covid-19 lockdown and approaching a Presidential election, was tearing itself apart over masking mandates and then over the fallout from the killing of George Floyd. This is precisely what Ari Aster's recent film "Eddington" does, wading with apparent boldness into a slew of issues that remain divisive even five years on.
Rising from my seat at the front table, a familiar acid burn crawls up my throat. It's that failure lump I've carried for the past 16 months. Today is somber. My late wife Jane's celebration of life. She died just over a month ago after a 15‑month battle with leukemia. More than 250 friends and family members fill the room, waiting for me to deliver her eulogy.
