If the board decides to punish Jensen Huang, who admitted to a relationship with a woman suspected of being a Chinese spy, there is no obvious successor.
Working with the Trump administration, foreign partners accept deportees, then ship them to nations where the U.S. itself would be prohibited from sending them.
Crowds have flocked to the stern, but reassuring, face of Angela Merkel in her official portrait, even as a backlash to her legacy roils German politics.
Twelve paintings, one century, and the man who painted time
Twelve paintings by Claude Monet, 1868–1922. All are in the public domain.
On 5 December 1926, Claude Monet died at Giverny, aged 86, in the house where he had lived for more than forty years. A century later, the twelve paintings in our gallery show how one man taught the world to look at light instead of things.
It begins with a sunrise. In 1872 Monet painted the harbour at Le Havre in quick strokes: grey-blue mist, ghostly cranes and a small orange sun that seems to burn through the canvas. When he showed Impression, Sunrise at the first independent exhibition in 1874, the critic Louis Leroy mocked it in a review headlined “Exhibition of the Impressionists.” The insult stuck, and a movement had its name.
Earlier still, in The Magpie, he had painted snow in blue, violet and cream. The Salon jury rejected it in 1869. Then came the sunlit years at Argenteuil. In Poppy Field and Woman with a Parasol, the figures are his wife Camille and their son Jean, painted so quickly that the wind seems to move through the brushwork. In The Gare Saint-Lazare, Monet turned modern Paris into weather, making locomotive steam as beautiful as clouds.
In the 1890s he made his boldest discovery: the subject hardly mattered. He painted stacks of wheat near his home at every hour and season, then more than thirty views of Rouen Cathedral’s façade, its stone dissolving from dawn grey to noon gold. In London, working from St Thomas’ Hospital across the Thames, he painted Parliament as a dark silhouette against a burning sky. A building, a field or a river was only the occasion. The true subject was time.
At Giverny he built his own subject. He diverted a stream, dug a pond, planted water lilies and crossed it all with a Japanese bridge, then painted that garden for the rest of his life, some 250 canvases of lilies in all. On 12 November 1918, the day after the Armistice, he wrote to his friend Georges Clemenceau offering the nation water-lily paintings as a monument to peace. They were installed at the Musée de l’Orangerie in May 1927, five months after his death, in two oval rooms that surround visitors with water and sky.
The true subject was time.
The final picture in our gallery is the strangest. Cataracts had clouded Monet’s sight, and in The Japanese Footbridge, painted around 1920–22, the bridge almost disappears into blazes of red, ochre and blue. Critics once dismissed these late works as the failings of an old man. In the 1950s, as Abstract Expressionism rose in New York, they were rediscovered as visions of the future. Joan Mitchell later spent her last decades in Vétheuil, in a house overlooking the one Monet had rented in the late 1870s.
Paris is marking the centenary. Monet: Painting Time is at the Orangerie through January 25, and From Monet to Hockney is at the Musée Marmottan Monet, home of Impression, Sunrise, through January 31. Take the gallery above as an invitation. A hundred years on, Monet’s light has not finished changing.
The Gallery
Impression, Sunrise, 1872 · Musée Marmottan Monet, Paris
The Magpie, 1868–69 · Musée d’Orsay, Paris
Poppy Field, 1873 · Musée d’Orsay, Paris
Woman with a Parasol – Madame Monet and Her Son, 1875 · National Gallery of Art, Washington
The Gare Saint-Lazare, 1877 · Musée d’Orsay, Paris
Stacks of Wheat (End of Summer), 1890–91 · Art Institute of Chicago
Rouen Cathedral, 1894 · One of more than thirty views of the façade
Bridge over a Pond of Water Lilies, 1899 · The Metropolitan Museum of Art, New York
The Houses of Parliament, Sunset, 1903 · National Gallery of Art, Washington
Water Lilies, 1906 · Art Institute of Chicago
Water Lilies, 1914–26 · Musée de l’Orangerie, Paris
The Japanese Footbridge, c. 1920–22 · The Museum of Modern Art, New York
See it in Paris
Monet: Painting Time · Musée de l’Orangerie · through January 25, 2027
From Monet to Hockney · Musée Marmottan Monet · through January 31, 2027
The art world, framed Collection · Saleroom · Trompe-l’œil · Afterimage
Sunday, November 8, 2026 · Issue No. 2
Covering November 1–7
The Permanent Collection — What will still matter in five years
1
A court unsells a Pissarro
On Thursday, a French court ordered that a Camille Pissarro painting sold at Sotheby’s in London be returned to the heirs of its prewar owner, and that the sale be cancelled. Darse de pêche et bassin Duquesne (1902), a view of the port of Dieppe, belonged from 1935 to Salomon Flavian, a Jewish banker. The court found that the Nazis looted it in Paris in 1941, as recorded in France’s 1947 register of looted property. A study backed by Sotheby’s and Mondex, a Toronto restitution firm, argued that the painting had left Flavian’s hands before the war. The court found no convincing evidence of that. Sotheby’s sold it in June 2024 for £1.2 million under a settlement that, according to the heirs’ lawyer, only two of Flavian’s relatives had signed. Under French law, cancelling the 1941 seizure voids every sale that followed. Sotheby’s now has two months to reveal the buyer’s full identity or pay €1,000 a day. The house says it is “disappointed,” disputes the court’s reach over a sale made in London, and is considering joining Mondex’s appeal. “It is a very important ruling,” said Corinne Hershkovitch, the heirs’ lawyer. Two days earlier, The Art Newspaper reported that Italy is moving toward a restitution panel of its own. A bill before parliament would create a five-member committee to rule, within 180 days, on art confiscated or sold under racial persecution between 1933 and 1945, with no statute of limitations. Italy has “barely scratched the surface” on Holocaust restitution, said Gideon Taylor of the World Jewish Restitution Organization.
Why it lasts: an auction sale used to be the end of a painting’s story. This ruling says a sale can be undone years later, in another country. If it survives appeal, anyone selling a work with a gap in its wartime history will have to weigh that risk.
2
The dead leave the display case
Glasgow’s Kelvingrove Art Gallery and Museum has taken the mummified remains of an Egyptian priest named Nekht off public view, and Glasgow Life, the charity that runs the city’s museums, has received a request to return them to Egypt. It hasn’t said who made the request. Under a draft policy, Glasgow will show human remains only with documented consent from the dead or, where appropriate, their descendants. Without that consent, a spokesperson said, removing ancient Egyptian remains from display is “more respectful to the deceased individuals.” A mummified head, foot and hand from the Valley of the Kings have also come down, and remains at the St Mungo Museum are next. At the University of Glasgow’s Hunterian, the open sarcophagus of Lady Shep-En-Hor has been covered. Not everyone agrees. Stuart Robertson, former director of the Charles Rennie Mackintosh Society, called the consent test “an absurd and impossible standard.” In Germany, on Tuesday, the Museum Wiesbaden will hand ten skulls to representatives of the Indonesian government. They were sent home in the 19th century by Ernst Albert Fritze, a military doctor from Hesse who served the Dutch in their East Indies colony from 1817. Hesse’s culture ministry says it is the first time human remains have been returned from Germany to Indonesia.
Why it lasts: for generations, mummies have been a staple of Western museums. The question now is not only who owns the dead but whether they should be looked at at all. Once one major city answers no, others will be asked the same question.
3
Rome plans a museum for a fascist modernist
Italy’s culture ministry has unveiled plans for a state museum devoted to Mario Sironi, a leading Italian modernist and a committed fascist. It is due to open next year in Rome, in the 1928 headquarters of the national association of disabled war veterans. That monumental fascist-era building already holds two Sironi frescoes, one of them showing Mussolini on horseback. The museum will show 30 works the ministry recently bought from the Mario Sironi Archive and 90 more on loan from it. Culture minister Alessandro Giuli calls it “the defining achievement of my term in office.” Sironi joined the fascist movement in 1919 and drew more than 1,700 cartoons and illustrations for Mussolini’s newspaper, Il Popolo d’Italia. His work runs from Futurism to the regime’s monumental commissions. Tomaso Montanari, an art historian on the museum’s scientific committee, doesn’t oppose the project. He says its materials “must make clear that there is no endorsement of fascism,” and that the ministry has only “partially” accepted his call to show work from other periods. Another committee member, Fabio Benzi, warned of “legitimising a certain authoritarian aesthetic under the guise of cultural rediscovery.” The museum’s press materials, The Art Newspaper notes, don’t mention fascism or Mussolini.
Why it lasts: every country with a dictatorship in its past has to decide how to show the art made for it. A state museum is the strongest statement a government can make about an artist, and the wall texts in Rome will be read closely, in Italy and abroad.
The Saleroom — Where collectors are betting
Two markets, one week
Christie’s first fine-art auction in Abu Dhabi, last Sunday, made $8.94 million with fees, from 70 works by 58 artists from 13 countries. The top lot, Monir Shahroudy Farmanfarmaian’s Variations on the Hexagon (2006), sold for $844,800 after almost seven minutes of bidding, more than three times its high estimate. Christie’s says 37 percent of those taking part were new to the house, and it announced nine auction records, though Art in Context points out that only three are outright artist records and four are artists’ first sales at auction. “This is only the beginning,” said Anthea Peers, Christie’s president for Europe, the Middle East and Africa. In Vienna, meanwhile, four galleries are closing or leaving, among them Exile, after 18 years, and Eva Presenhuber’s Vienna space. “There are simply no new collectors emerging,” said Exile’s Christian Siekmeier. Canada’s dealers are losing their biggest market. US tariffs of 50 percent on Canadian paintings, sculpture and prints, in force since August, have led Macaulay & Co to drop a Miami fair in December, and Vancouver’s Equinox Gallery expects its US sales, about 15 percent of the total, to fall to zero. The bigger test comes in New York, where the November auctions begin on November 16. At Christie’s the next night, a Kandinsky and a Klimt are each estimated at $60 million to $80 million.
What it’s worth: the money is moving, not disappearing. New buyers are turning up in the Gulf while the middle of the gallery business thins out in Europe and Canada. The New York sales will show whether the top of the market is as strong as Abu Dhabi suggests.
Trompe-l’œil — Looks new. Isn’t.
Picasso, in silver
In 1955, Picasso asked François Hugo, a goldsmith in Aix-en-Provence, to make plates in silver from designs Picasso had made for ceramics in Vallauris. Seventy years later, sets of those plates, and gold medallions too, keep appearing for sale, worth millions of euros in all. Sotheby’s London sold a complete set of 24 silver plates for £1.4 million in 2021. The first alarm came in 2023 from Mona, the museum in Tasmania, about plates it had bought at Sotheby’s. In March, Paloma Ruiz-Picasso filed a complaint on behalf of nine heirs alleging fraud, counterfeiting, forgery and concealment. It names no suspects. The Picasso Administration says it has found at least 17 suspect sets, hundreds of pieces in all, and a court in Aix-en-Provence has opened a preliminary criminal investigation, The Art Newspaper reported on Thursday. Nicolas Hugo, the goldsmith’s grandson, says the right to reproduce the pieces disappeared with them, and that anything from his father’s and grandfather’s time is too old to prosecute. It hangs here not because the sums are small. They aren’t. It hangs here because the complaint is eight months old, the investigation has barely begun and no one has been charged. For now, it is a story about how much a famous name can make a silver plate look like a Picasso.
Vernissage — Doors opening this week
Powerhouse Parramatta, Sydney. After nearly 15 years and A$915 million, Sydney’s new arts and science museum opened on Saturday on a former car park in the city’s west. More than 3,000 objects fill its column-free galleries in five opening shows, among them Es Devlin’s The Turning and Task Eternal, on flight and space, made with the Smithsonian and the British Museum. About 25,000 people registered for opening-weekend events, SBS reported. “This place will become a cultural backbone for Western Sydney,” said acting chief executive Abbie Galvin. She is acting because chief executive Lisa Havilah stepped down in August amid misconduct allegations, which she denies, while a law firm investigates a whistleblower’s claims about governance and procurement. The old Powerhouse in Ultimo closed in 2024 for a A$300 million rebuild.
Art Dhaka, Bangladesh. Bangladesh’s first art fair opened on Friday in Aloki, a former garment factory turned cultural hub, under the slogan “Art for All.” It runs until Tuesday. Dhaka has only a handful of commercial galleries, and the country is still settling after the 2024 fall of Sheikh Hasina’s government. “We don’t have a strong gallery system,” said co-founder Durjoy Rahman.
Farewells
Miquel Navarro, 81, died on November 1. Inspired by his hometown of Mislata, near Valencia, he built imaginary cities from hundreds of geometric forms that visitors could walk through. He represented Spain at the 1986 Venice Biennale, and his public sculptures include La Pantera Rosa (1984) in Valencia.
Fernando Calvillo, 45, community relations director of the Oklahoma Visual Arts Coalition, died in the October 28 high-speed train crash near Urda, in Spain’s Toledo province. Born in Aguascalientes, Mexico, he was an artist and a connector of artists in Oklahoma City. His husband, Lawrence Naff, survived.
Afterimage
John Berger was born a hundred years ago on Thursday. In Ways of Seeing, the 1972 book that grew out of his television series, he wrote that “the way we see things is affected by what we know or what we believe.” This week tested that sentence everywhere. The Pissarro view of Dieppe is the same canvas that sold in London in 2024. Now that a court has called it loot, it is a different object. In Rome, a fresco of Mussolini on horseback will read as history or as homage, depending on the words on the wall beside it. In Glasgow, a priest named Nekht, shown for years as an exhibit, is now treated as a person who never agreed to be seen. Even a silver plate looks different once you know who might have made it. Berger believed that looking is never innocent. A century after his birth, museums are starting to agree.
Before You Leave the Gallery
Once you know a painting’s history, can you ever see it the same way again?
Sourced this week from The Art Newspaper, ITV News, taz, The National, Art in Context, The Art Insider, ABC News, SBS News, Hyperallergic and Mexico News Daily.
The week in technology, sorted · Signal · Money · Noise · The Long Wave
Sunday, November 8, 2026 · Issue No. 6
Signal — What will still matter in five years
1
Voters say no to data centers
On Tuesday, voters favored limiting data-center development in 40 of 41 local ballot measures, Ballotpedia found. The votes spanned roughly ten states. Five places approved outright bans. In Ohio, almost 20 towns, cities and counties voted, and opponents won every race. Others passed partial bans, six-month moratoriums or rules requiring a public vote on large projects. Emporia, Kansas, banned “high impact data centers,” defined as those drawing more than 10 megawatts of power or 100,000 gallons of water a day. The lone exception was Harwood, North Dakota, where voters rejected a review requirement. Voters cited water, power bills and secrecy. As Brookings’ Mark Muro told Route Fifty, many projects arrive through deals shrouded in nondisclosure agreements. Two days later, OpenAI announced that it will pay the full cost of the electricity and infrastructure its data centers use, write a water plan for each site, largely stop asking public officials to sign nondisclosure agreements, and sign a compact with each host community.
Why it’s signal: the AI boom has assumed that the hard part was chips and money. This week suggested the hard part may be permission. A data center needs a town to say yes, and towns are discovering that they can say no.
2
An AI hacker, kept on a leash
On Thursday, OpenAI released GPT-6 Cyber, a model trained to find software flaws, write working attacks and suggest fixes, and rated it “Critical,” the highest level of cybersecurity risk in its safety framework. Only a small group of vetted security customers can use it, from approved network addresses, and OpenAI recommends running it in isolated environments under human supervision. In OpenAI’s tests, it found 81 previously unknown serious flaws in the Firefox browser, which Mozilla has already fixed. It also built working attacks for 948 vulnerabilities in Linux, the software that runs most of the world’s servers, more than five times what an earlier model managed, at a computing cost of about $1,279 per attack. OpenAI says it sent 304 critical findings to Linux maintainers along with suggested fixes. All of these figures come from OpenAI, The Hacker News notes, and no independent testing has been published.
Why it’s signal: last month, a bank hired a thousand people to patch flaws that AI had found. Now a working attack costs about as much as a new laptop. When finding weaknesses gets this cheap, the main safeguard left is deciding who may use the tool, and for now that decision rests with the company that built it.
3
Say no to AI, lose Google Search
On Tuesday, Google said that schools using its K-12 software will lose student access to Google Search unless they opt in to its AI tools. Starting early next year, Gemini and Search will be switched off by default on student accounts until administrators turn them on. Because Search now includes AI Overviews and AI Mode, which can’t be turned off, a school that wants to keep AI away from students can’t give them Search either, Fortune reports. “Search and AI are deeply integrated,” Google’s education chief, Chris Phillips, told The New York Times, and Google says the change gives “schools more choice, not less.” Former Federal Trade Commission chair Lina Khan accused Google of “using its search monopoly to coerce schools into adopting AI.” Jared Cooney Horvath, a neuroscientist and former teacher, offered schools another route: “Maybe go to a book. Maybe go to the library.” New York City and Los Angeles have already paused generative AI tools in their elementary and middle schools.
Why it’s signal: for most of computing’s history, “off” was always an option. As AI is built into the tools we can’t do without, saying no to the AI means saying no to the tool. Schools are the first to face that choice. They won’t be the last.
Follow the Money — Where investors are betting
The trillion-dollar flinch
On Thursday, the Nasdaq fell 5.5 percent and the S&P 500 fell 4.4 percent, its worst day since the tariff turmoil of April 2025, led by AI chipmakers. AMD dropped 17 percent and Nvidia 9 percent. The Associated Press pointed to doubts about whether AI spending will pay off, high valuations and growing opposition to data centers. This week, Bloomberg also reported that potential buyers of Anthropic’s shares were discussing a valuation of about $1.2 trillion to $1.3 trillion, with some as low as $1.1 trillion, down from the $1.5 trillion to $2 trillion discussed a month ago. On Friday, Bloomberg reported that OpenAI had raised $11 billion at a $1.25 trillion valuation, in a round that could reach $20 billion, well short of the $30 billion it was reported to be seeking in September.
Why it matters: a trillion dollars is still a trillion dollars. But for the first time in this boom, the people writing the checks are asking for a discount, and one of the reasons they give, local opposition to data centers, is the one voters gave on Tuesday.
Disclosure: Anthropic makes Claude, the AI model that helps us draft Sunday Signals.
Noise — Loud this week, not new
The robot maid has a pilot
MIT Technology Review’s Grace Huckins hired a humanoid robot from the San Francisco startup Tau Robotics to clean her apartment. It was “undeniably cute” and cheap, at $30 an hour when she booked. It was also driven by a person. Remote pilots watch through cameras in the robot’s head and wrists and guide its movements, and the data they collect trains future models. It stumbled on stairs, overheated and stalled during its first visit, left taps dripping and knocked over a bottle of olive oil, though it did handle the toilet. Tau has completed only a couple hundred cleanings. We file it under Noise because home-robot demonstrations keep arriving faster than home robots. To its credit, this one is honest about what it is: a remote-controlled machine gathering the data that might one day let it work alone. For now, the most capable part of the robot maid is human.
The Long Wave
Every new technology arrives carrying a quiet question: may we? For most of the internet’s history, the answer was assumed. This week, people began answering out loud. Towns in about ten states told data-center builders no, and one of the largest AI companies answered by promising to pay its own power bills and stop asking officials for secrecy. A lab judged its newest model too risky for wide release and chose for itself who may use it. Google told schools that saying no to AI now means saying no to search. And investors, asked to value two AI companies at well over a trillion dollars each, said, in effect, not at that price. The power to refuse is the oldest check on any technology. The question now is who still holds it.
The Question for the Week
Is there an AI feature you would turn off if you could, and can you?
Sourced this week from Ballotpedia, Route Fifty, ABC News, the Associated Press, The Decoder, The Hacker News, Fortune, TechCrunch, Bloomberg, Investopedia, and MIT Technology Review.
Americans face a new political reality and a gap between the time they effectively decided to be done with President Trump and the time he is actually done.
The man in line to be the first Black speaker is seen by activists as too timid to take on the president. He says he’s “strongly positioned” to get things done.
India’s top court decreed that only more environmentally friendly fireworks could be set off this weekend, citing air quality concerns. But environmental activists call it a “green wash.”
The African National Congress lost big in local elections, turning a once-dominant force credited with overturning apartheid into “any other political party.”
Gadi Eisenkot, a former military chief, hopes to succeed Benjamin Netanyahu as prime minister by cobbling together a coalition after an inconclusive election.
IDLER MAGAZINE: This Christmas special of The Idler (issue 113) mixes the seasonal with the quirky, promising the secrets of churchyard lichens, a tale of Dickens’ favourite outlaw, the oyster thief, John Harris on why he hates whistling, an explanation of why fitness gadgets fail, a new Bullshit Detector column with Murray Lachlan Young, and a first-person story of becoming a chimney sweep, plus Georgia Mann, Rowley Leigh and Arthur Smith, a Yayoi Kusama exhibition, a Cinderella story, spies on screen, walks around old York, lunch in Whitstable, scientists in sheds, a car turned into canvas, allotments, cassoulet, saving with sumo and Christmas ukulele albums.
Don’t rake them away, let them decay. Autumn’s fallen leaves will enrich your garden’s soil – or you can turn them into multi-purpose leaf mould, says Graham Burnett
Look at the trees nearest to where you are right now. Whether in your back garden, local park, woodland or out of a train window, they don’t seem to be doing much, do they? But trees are far from idle, even though much of their activity happens in ways imperceptible to our senses.
Since early spring, tap roots have been constantly pumping underground water and soil nutrients to the highest branches of the leafy canopy. Each of those tens of thousands of individual leaves is a highly efficient solar panel carrying out the magic of photosynthesis.
Join “A Drink with the Idler” as we chat to journalist Sarah O’Connor about the future of work in a world with AI, the perils and the potential.
Sarah O’Connor talks to Idler editor Tom about how AI and robots can change the ways we work, in both sinister and useful ways, and how we can harness new technology and shape its development in a way that makes jobs better, safer and more enjoyable.
Join Sarah and Tom as they discuss the ideas in her book We Are Not Machines, which is inspired by stories from nineteenth-century English cotton mills to twenty-first century Swedish mines, and how we can fight for work which is more respectful of our limits, and more worthy of our minds.
The discussion between Sarah and Tom will be followed by a live Q&A when you will be given the chance to ask Sarah your own questions.
We’ll have a philosophical “Thought for the Week” from Dr Mark Vernon and the event will be hosted by Idler Academy director Victoria Hull.
Welcome to How the Stoics Can Help You Get Happy. Over six lessons, Idler editor Tom will teach you how to apply Stoic wisdom to your outlook on life. Drawing on the ideas of ancient Greek philosophers from Zeno to Socrates and Plato, and touching on themes of politics, love, freedom and death, Tom will show you how the Stoics can help you live a happier life.
By leaning into nativist absolutism, Netanyahu almost doubled the Arab vote, creating a political — and foundational — crisis for Israel.By Roger Cohen
In 1995, Itamar Ben-Gvir appeared on camera brandishing the hood ornament of the Israeli prime minister Yitzhak Rabin’s Cadillac. “We got to his car,” he vowed, “and we’ll get him, too.” Soon after, in one of history’s most successful assassinations, Rabin was killed by a fanatical religious-nationalist Jew, and 27 years later the teenage hoodlum who boasted of his theft became Israel’s minister of national security.
There is perhaps no better representation of Israel’s steady march rightward over the past three decades than the ascent of Ben-Gvir to the high office he still holds. The vandal became responsible for preventing vandalism, the ethnocentric fanatic for stopping sectarian violence. This unhappy outcome, and its predictable consequences, reflects the nationalist and more messianic country that Israel has become as the idea of a two-state peace, the ultimate target of Rabin’s assassination, withered and died.
There used to be an honorable way to try to profit from online infamy: selling nearly worthless memecoins. The machines could take it over. By Willy Staley
I’m not afraid to admit it, right here in the newspaper: It finally happened to me. I saw an A.I. video, and I thought — if that’s the right word — it was real. It showed a guy standing on a street corner somewhere in Europe, with an insane haircut and a houndstooth suit, shadowboxing while a French rap song played in the background. In his misplaced confidence and swagger, he called to mind a protomemetic figure from my youth, Napoleon Dynamite.
This was Jean Phil, someone who — as far as anyone can tell — doesn’t exist. Has never existed. Was conjured from a bunch of NVIDIA chips in a low-slung building outside of Kenosha.
The term captures the self-defeating loop of losing and not being able to stop. It also describes doomscrolling, politics and our society’s default state. By Mitch Therieau
Five experts on how best to limit a rapidly evolving technology. By Emily Bazelon
Oct. 26, 2026
Artificial intelligence is alarming many of its human creators by leaping the guardrails designed to contain it. In the last few months, safety researchers have resigned from OpenAI and Anthropic, warning that their former employers could be courting disaster: A.I. that escapes our control irrevocably. The companies are reportedly gaming out scenarios of a catastrophic cyberattack or other event in the next six to 12 months.
The next generation, the little fellow below included, depends on it. Five potential endgames. By Jack Hough
Voters have spoken, and Congress has flipped blue, to counter a Republican White House. Which side will get its way? Increasingly, neither, and not just because of gridlock. America’s debt will write more of the rules from here.
ResMed, whose devices treat sleep apnea, has dropped on unfounded concerns that weight-loss drugs will replace its treatment. The stock is cheap and worth buying at current prices.
The Washington consensus is that Congress will be gridlocked for the rest of Trump’s presidency. Investors on Wall Street, however, see compromise on the horizon. Healthcare stocks, renewables, and more hang in the balance.
Behind the scenes, the world’s richest person spent a record amount over two years in an attempt to bend the country’s politics to his will. He failed.
The new chief of staff is responsible for some of the most provocative policies of President Trump’s second term, and an aggressive approach to executive power.
After months of secrecy, Ukrainian commanders let New York Times journalists join them in bunkers and training grounds used to reverse some Russian territorial gains.
A cyberattack on supermarket fridges, bomb threats to planes and software vulnerabilities have Europe on edge as government officials encourage resilience and stockpiling.
President Donald Trump got one of the rarest things in American politics: a second chance. Voters rendered the verdict that he blew it. By W. James Antle III
