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Sam Kerr and the Dream of an Australian World Cup Title | The N…
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Was Jack Welch the Greatest C.E.O. of His Day—or the W…
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Jessica Chastain’s Close Listening in “A Doll’s House” | The New Yorker
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The Rules According to Pamela Paul | The New Yorker

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How Gaza and the British Right Split London on Armistice Day | T…
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“Big George Foreman” Is Half a Terrific Boxing Bio-Pic | The New …
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Geena Davis Is Ready for the Geenaissance | The New Yorker
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The Origin Story of “Stop Making Sense” | The New Yorker

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The Fall of My Teen-Age Self, by Zadie Smith | The New Yorker
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The Paradox of Listening to Our Bodies | The New Yorker
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Mae West, the Queen of New York | The New Yorker
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Reimagining Underground Rave Cu…

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What Kind of Mind Does ChatGPT Have? | The New Yorker
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What Ghost Stories Taught Me About My …
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“Anora” Is More for Show Than for Substance | The New Yorker
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Why More and More Girls Are Hitting Puberty Earl…

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The Legacy of RuPaul’s “Drag Race” | The New Yorker
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Wes Moore Would Like to Make History | The New Yorker
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Sarah Sze’s Worlds of Wonder and Futility | …
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The Great Cash-for-Carbon Hustle | The New Yorker

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