| | | | | The ESPN star’s reporting on divisive subjects, including allegations of violence against women, has been as risky as it is refreshing.  Photograph by Gabriella Angotti-Jones for The New Yorker At just twenty-nine years old, Malika Andrews has become the face of ESPN’s N.B.A. studio coverage. She swiftly transitioned from writer to host in part by eschewing much of the chummy, laid-back reporting style that is typical among sportscasters. Four years ago, when she was sent to live inside the league’s experimental COVID “bubble” at Disney World, “it was as if the network had hired a straight-A student to go report on the jocks,” Jennifer Wilson writes, in this in-depth profile. Andrews’s “precociousness and evening-news-anchor gravitas” has earned wide praise, but her dogged reporting on all aspects of the sport, including alleged sexual misconduct in the league, has generated blowback from some angry viewers. She has been accused of being biased against Black men and has become the target of an online harassment campaign. “She’s been under a microscope that I don’t envy,” the ESPN reporter Adrian Wojnarowski explains. “It’s glaring. It’s a lot.” But Wilson makes a case for the revelatory nature of Andrews’s coverage: “Basketball is as much about cheap shots, petty selfishness, and human frailty as it is about teamwork and strength of body and character. Andrews, in covering the shadow alongside the light, has captured the very essence of sports.” Support The New Yorker’s award-winning journalism. Subscribe today » | | | | Culture Dept. | |  Photograph from Archivio GBB / Contrasto / Redux The German printmaker, who was born in East Prussia in 1867 and lived most of her life in Berlin, devoted herself to art at a time when few women were able to do so. Her work is figurative but accessible, and puts women, particularly mothers, at the focal point. In her self-portraits, especially, “she does not efface the inevitable wrinkles and saggy bulges, or the private emotion—joy, sexual desire, despair,” E. Tammy Kim writes, in this review of a major retrospective of the artist’s work at MOMA. Read more » | | | |  | The Political Scene: The New Yorker staff writer Rivka Galchen speaks with Tyler Foggatt about the totalizing threats of doom posed by things we don’t yet fully understand—climate change, nuclear warfare, artificial intelligence. Listen and follow » | | | | | | | Remembering D Day | |  Photograph by Canadian Official Photographer / IWM via Getty Eighty years ago today, on June 6, 1944, A. J. Liebling, who had been covering the war for The New Yorker, was aboard a landing craft bound for the coast of Normandy. Later that month, he sent this report: “I said to myself, in the great cliché of the second World War, ‘This is it,’ and so, I suppose, did every other man in our fleet of little ships.” Read more » | | | | Letter from the U.K. A D Day Journey in the Spirit of A. J. LieblingFrom 2019: A visit to Weymouth seventy-five years after the correspondent’s infantry landing craft departed Britain for France. By Rebecca Mead | | | | |  | If you know someone who would enjoy this newsletter, please share it. Was this newsletter forwarded to you? Sign up. | | | | Fun & Games Dept. | Mini Crossword A Smallish Puzzle“Search Party” actress Shawkat: four letters. By Mollie Cowger | | Shouts & Murmurs New Takes on Old SayingsAll is fair in love and chores. By Olivia de Recat | | Daily Cartoon Thursday, June 6th By Lynn Hsu | | | | |  | Name Drop: Can you guess the identity of a notable person—contemporary or historical—in six clues? Play a quiz from our archive » | | | | | P.S. When the fashion descriptor “normcore” went viral, a decade ago, Jean Touitou, the founder of the French clothing brand A.P.C., was not happy. A trendy embrace of the anti-trend, normcore could be seen as a cheapening of his minimalist vision. “But one could argue,” Carrie Battan writes, “that Touitou is an inadvertent, and unwilling, godfather of the movement—an evangelizer for the idea that ‘no-fashion fashion works.’ ” | | | | Today’s newsletter was written by Hannah Jocelyn. | | | | | | | |
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