Noah ’40’ Shebib Is Racing to Fix the Damage
The producer behind nearly everything Drake does and the multiple sclerosis that has claimed significant portions of his brain.
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From Soldier to Worker
Police unions were born of resistance to discipline for brutality. Do they belong in the labor movement?
The 3D-Printed Gun Isn’t Coming. It’s Already Here.
All you need is a blueprint, a polymer, a printer, and a knowledge of government regulations.
The Taste Makers
Where does Strawberry-Kiwi Snapple come from? Givaudan is part of a tiny, secretive industry that produces new flavors.
The Democracy Factory
For decades, the vote-by-mail business was a sleepy industry that stayed out of the spotlight. Then came 2020.
Silence Like Scouring Sand
A trip to one of America’s quietest places and the guy who has dedicated his life to keeping it that way.
The Factories in the Camps
Observers have long warned of rising forced labor in Xinjiang. Satellite images show factories built just steps away from cell blocks.
Inside India's Booming Dark Data Economy
When it comes to data from India’s 500 million daily internet users, everything is for sale.
The Race to Dismantle Trump’s Immigration Policies
Trump transformed immigration through hundreds of quiet measures. Before they can be reversed, they have to be uncovered.
The Texas Riding Club Keeping Black Cowboy Culture Alive
For the past 70 years, the Circle L 5 Riding Club in Fort Worth has been honoring the legacy of its forefathers.
Money Trail from Daphne Murder Probe Stretches to China
An investigation into the killing of Maltese journalist Daphne Caruana Galizia.
The Death Truck: How a Solution to Mexico's Morgue Crisis Created a New Horror
How did a lorry carrying 273 dead bodies end up stranded on the outskirts of Guadalajara?
How to Negotiate with Ransomware Hackers
Kurtis Minder finds the cat-and-mouse energy of outsmarting criminal syndicates deeply satisfying.
Johnny Knoxville’s Last Rodeo
The Jackass takes stock of a surprisingly long, hilariously painful, and unusually influential career.
New York Is Back. Now It Has a Second Chance.
The city is beating the pandemic. Can it also recover from decades of division and neglect?
One by One, My Friends Were Sent to the Camps
A celebrated Uyghur writer gives a first-person account of the genocide in Xinjiang.
Matt Damon’s Disappearing Acts
The enduring career of the megastar no one really knows.
The Spine Collector
For years, a mysterious figure has been stealing books before their release. Is it espionage? Revenge? Or a complete waste of time?
The Other Afghan Women
In the countryside, the endless killing of civilians turned women against the occupiers who claimed to be helping them.
Twelve hours in a Florida COVID-19 ICU
On this ward at Morton Plant Hospital, nurses are overwhelmed by the number of new, desperate cases.
When Public Health Becomes the Public Enemy
In the West, organized extremists are driving community health officials out of their jobs.
The Country's First Climate Change Casualties?
Scientists predict Tangier Island could be uninhabitable within 25 years. This is the story of the people willing to go down with it.
How Child Care Became the Most Broken Business in America
Biden has a plan to make day care more affordable for parents—if the providers don’t go out of business first.
Jesse Coburn is an investigative reporter at Streetsblog. He won the Polk Award for Local Reporting for "Ghost Tags," his series on the black market for temporary license plates.
“You can imagine this having never become a problem, because it’s so weird. What a weird scam. I’m going to print and sell tens of thousands of paper license plates. But someone figured it out. And then a lot more people followed. It just exploded.”
This is the second in a week-long series of conversations with winners of this year's George Polk Awards in Journalism.
Michael Schulman is a staff writer for The New Yorker. He recently profiled Jeremy Strong of Succession.
”There's an interesting moment that's part of this job where you’ve spent a lot of time with someone and it often feels very personal and very intimate. And then when you go to write the piece, you have to sort of take a breath and say to yourself, Okay, I'm not writing this for this person. I'm writing this for the reader.”
