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Tag: from the magazine

  • Rupert Murdoch’s Last Hurrah: Conquering Hollywood With the ‘California Post’

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    Papps previously served as News Corp Australia’s Los Angeles correspondent from 2004 to 2006, when Arnold Schwarzenegger was governor and the LA Lakers were enduring the breakup of the Kobe Bryant and Shaquille O’Neal dynasty.

    On a recent fall afternoon, Poole and Papps are in an upbeat mood in the New York Post newsroom. In his corner office on the 10th floor of the News Corp building, between sips of English breakfast tea, Poole reels off the coverage areas the California Post will hammer: criminal justice, big government, burdensome regulations, high taxes, homelessness, mental health.

    “They are not really talked about there in any meaningful way by the outlets, in the way that we would do it at least,” Poole says, in a not unsubtle jab at the Los Angeles Times.

    Poole has an ambition for the New York Post to be “America’s local paper,” and it became profitable, he says, about four years ago. Now the bean counters at News Corp have devised a five-year business plan for the California Post, whose reporters will cover LA, Silicon Valley, and the capital, Sacramento.

    Poole says the inspiration for the California Post in part occurred after the January LA wildfires, when he heard from people in LA and across the state who wanted his paper to hold local politicians to account. The Cali Post wouldn’t be the first new media venture born out of some of the most devastating natural disasters to hit the state. Spencer Pratt lost his Pacific Palisades home in the wildfires. The devastating event inspired the episode “Rebuilding After the Palisades Fires” on The Fame Game, a podcast that Pratt cohosts with his wife, Heidi.

    While the economics of launching a newspaper in 2026 don’t make much sense (“LA is not a newsstand town,” an LA-based communications consultant tells me. “Everyone drives. I think that’s important.”), LA media observers tell me they view this as an influence play.

    You’ve got to have some fun as well,” Papps tells me about his vision for the California Post. “LA is an amazing, amazing city and California is an amazing state.” (You wouldn’t know it from watching some Fox News shows, where prime-time hosts including Jesse Watters and Sean Hannity are vocal critics lambasting California as a liberal failed state.)

    Murdoch has entertained the idea of launching a California edition of the Post for years, I’m told. News Corp CEO Robert Thomson and his chief strategy officer, Anoushka Healy, have also been instrumental in pulling the trigger on an LA version of the New York Post.

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    Lachlan Cartwright

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  • Chloé Zhao Talks ‘Hamnet,’ Reviving ‘Buffy,’ and Navigating Hollywood as a “Deeply Neurodivergent” Director

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    The director heard Gellar’s concerns, and yet, Zhao says, “I think we chose each other in that moment.”

    “No one knows Buffy better than Sarah Michelle Gellar…and that’s why I couldn’t do it unless she felt like we should,” Zhao says. “The way the fans commune around her, that’s the energy we’re trying to bring out onto a small screen again.” That Zhao was one of them helped sway Gellar.

    “This version is coming from the true fan that is desperate to revisit the world, not reinvent,” Gellar writes. She once told Zhao that she regretted not taking the class protector umbrella from the original series’ prom episode. On the last day of filming the sequel, Zhao presented Gellar with an exact replica.

    I ask Zhao if the reports are true, that Gellar plays a mentor to a new teen slayer, but I’ve trespassed into spoiler territory. All Zhao can say now is: “She’s very much in it.”

    The club of best directors who double as best picture–winning producers is small, storied, and like the profession itself, majority male. Among them are Eastwood, del Toro, Iñárritu, and Zhao.

    “Her technical abilities are second to none,” Mescal says, but her soulfulness is “what sets her apart.”

    Beyond Buffy, the “upcoming” tab of her IMDB page is currently blank. Much has been made of Zhao’s “female gaze,” but she’s relying now on her woman’s intuition. Despite her male-dominated industry and our male-dominated political moment, Zhao senses a “feminine consciousness” bubbling up all around us, a new era of enlightenment full of compassion and heart. You know the shift is happening, she says, when the resistance rises to suppress it. Zhao speaks so confidently, I feel a rare ripple of hope: “Let’s be ready.”

    Hair and makeup, Salvador Gonzalez; set design, Viki Rutsch. Produced on location by Preiss Creative. For details, go to VF.com/credits.

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    Michelle Ruiz

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  • Will the Real Jeremy Allen White Please Stand Up?

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    Jeremy Allen White is not a brooding native son of Chicago, a misconception many have due to his Emmy-winning performance in The Bear. (He grew up in Brooklyn’s Carroll Gardens neighborhood.) He’s not a brooding wannabe musician, though he took a turn as Bruce Springsteen in October’s Springsteen: Deliver Me From Nowhere. Nor is he a former (yes, brooding) juvenile delinquent/science prodigy, as he played for a decade on TV’s Shameless. In fact, he’s not even Jeremy Allen White.

    “That’s not how I understand myself,” he tells VF over Zoom, from his Los Angeles home. “It does feel like people are talking about someone I don’t know.” He uses his middle name professionally out of administrative necessity: The “Allen” was only added when he learned that another Jeremy White had previously registered with the Screen Actors Guild.

    “I’d be very interested [to meet him],” White says of the alterna-White. “I could talk to him and maybe see if he could allow me to have Jeremy White back.”

    Photographer Theo Wenner. Fashion Editor Tom Guinness.

    Vintage jeans by Lee.

    Vintage jeans by Lee.Photographer Theo Wenner. Fashion Editor Tom Guinness.

    In the meantime, he’s making his peace with public perception. “I think it’s always going to come back to me feeling lucky that I was able to work for a very long time in my late teens and throughout my 20s without having the burden of being a very public person,” he says. “Shameless was a popular TV show, but nobody ever wanted to interview me or anything. And if they did, I would catch myself doing like a Sean Penn impression—or, like, my understanding of Sean Penn. Trying to come off as over it in some way, or tough in some way. The Bear has taken me to a different level, but I’m lucky that it’s in my early 30s, where I think I feel a bit more settled in myself, and I don’t feel like I need to put on any self-serious or troubled attitudes.”

    As if to prove it, he makes a joke: “I’m allowed to smile, although I won’t do it very often.” He smirks.

    Though fame makes White uneasy, he’s fired up about the work that earned him those admirers. He looks up to a laundry list of leading men: Penn, of course, as well as Al Pacino, Robert De Niro, Sam Rockwell, John Turturro, and Steve Buscemi. Some of them are known better for supporting roles—but regardless, “They just had this pursuit of working with really great writers and directors, and I hope that I’m given the opportunity to do the same thing. I just like to work with the directors that I love.”

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    Kase Wickman

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  • Kristen Stewart Lets Loose in Fiery Speech: Hollywood Is “In a State of Emergency”

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    “May I leave my contortionist skills at the door and speak from the heart? May I not conceal or reframe my anger, but share it so as to move through it to something more fun and more beautiful and less boring and more original?” she told the crowd. “Our business is in a state of emergency, man, and the last thing that I want to do here is lose the celebration under a pile of pissed-off rubble.”

    The crowd at the event, presented by Chanel, listened closely—a group that included Tessa Thompson, Zoey Deutch, Kate Hudson, Sarah Paulson, Felicity Jones, Kaitlyn Dever, Claire Foy, Riley Keough, Kerry Condon, Alicia Silverstone, Emma Mackey, and Leslie Mann and her daughter Maude Apatow. Before Stewart’s keynote speech, the attendees were welcomed to their seats by Academy President Lynette Howell Taylor, who took over the leadership post only this past July.

    The event was also a congratulatory moment for aspiring filmmakers Alina Simone and Marlén Viñayo, who will receive mentorship and support as this year’s recipients of the Gold Fellowship for Women.

    Riley Keough, Kate Hudson and Leslie Mann.

    Al Seib

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    Rebecca Ford

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  • How “I Want My MTV” Saved the Network From an Early Grave

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    So was born the campaign “I want my MTV.” Now we had to identify which stars were the rock-and-roll equivalents of Mickey Mantle and Wilt the Stilt. Lois answered that immediately. “You need to get Mick Jagger. He’s the biggest star in the world.”

    Sure, George, no problem.

    We had learned some lessons about big stars and MTV. Early on, we had struggled to get permission even to use photos of recording artists. My partner, John Sykes, and I realized we were asking the wrong people. To the record labels, we might as well have been a high school fan club asking for free pictures. They were oriented toward radio and print, not TV. It was worse when we tried to go through the lawyers. They said no as a policy. It seemed to defy logic, but we found that the easiest people to deal with were the hardest people to get to: the artists themselves.

    We went off like bounty hunters to bag our targets. Sykes’s mission was Pete Townshend. Les Garland, our hilarious new larger-​than-life head of programming, went for Mick Jagger, whom he had met before. I drew David Bowie. This was our Hail Mary shot.

    Sykes waited for hours outside Townshend’s manager’s London office. When Townshend showed up, Sykes went into his boyish charismatic mode. “Hi, Pete, I’m John Sykes! I’m with MTV, it’s a new channel that plays music videos. Would you do a promo for us like you do when you visit radio stations?”

    Townshend probably assumed his manager had set this up. He asked Sykes when he wanted to do it. “How about right now?” Pon had rented a garage across the street and had his camera set up. Sykes led Townshend over. It took only a few minutes.

    Garland took Pon and a video crew to Paris to stalk the Rolling Stone. When he finally appeared, Garland was on him with the full hustle of a seasoned radio veteran. Jagger remembered him. “All you need to say is ‘I want my MTV,’ ” Garland said.

    “You want me to do a commercial?” said Jagger.

    “It’s really more of an endorsement, an endorsement for a new phenomenon called music videos.”

    “Yeah, that’s a commercial. The Rolling Stones don’t do commercials.”

    “Mick, we don’t have any money. But, if this is about money, I’ll give you a dollar.” Garland laid a dollar on the table. It could have gone either way, but Jagger laughed.

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    Tom Freston

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  • Exploring the Art Galaxy

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    Amy Cappellazzo
    Eleanor Cayre
    Meredith Darrow
    Ralph Deluca
    Benjamin Godsill
    Kim Heirston
    Sandy Heller
    Jacob King
    Todd Levin
    Tobias Meyer
    Allan Schwartzman

    Illustration by Ariana Kokoreva

    Shooting Stars

    The Rising Galleries in the Art World

    15 Orient
    56 Henry
    Amanita
    Matthew Brown
    Emalin
    Sebastian
    Gladstone
    Gratin
    Heidi
    Lomex
    Mendes Wood Dm
    Parker Gallery

    Art Universe 2025

    Illustration by Ariana Kokoreva

    Planet Hollywood

    The LA Galleries

    Commonwealth And Council
    Jeffrey Deitch
    Fernberger
    François Ghebaly
    Hoffman Donahue
    David Kordansky
    Nonaka-Hill
    Regen Projects
    Marc Selwyn

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    Derek Blasberg

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  • Sketch Artist Isabelle Brourman’s Work Is an Ongoing Portrait of the President

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    Brourman departs from her contemporaries not only in style, but in her downtown-art-scene sensibility. She met the gallerist who hosted a solo show of her work from the Trump trials, Will Shott, at a Drunk Versus Stoned soccer game hosted in Montauk by the Tribeca dealer Max Levai and received her master’s from Pratt, where she was working on what she describes as “a lot of personal excavation stuff” that occupied a space between fantasy and diary. “I was coming out of a really long-term abusive situation, and I was using painting and mixed-media collage to find ways to retool traditional painting practice.” In 2022 Brourman was the first-named plaintiff among eight former students in a lawsuit against the University of Michigan and her undergraduate professor there, Bruce Conforth, who multiple former students alleged sexually assaulted and harassed them. The suit was filed outside Michigan’s statute of limitations and was dismissed, but it was amid the proceedings that she began watching coverage of Depp v. Heard. Feeling guilty for her voyeurism and in an effort to make something of her interest, she decamped to Fairfax County, Virginia, to paint the trial in real time. “I’ve always been a fan of gonzo journalism,” she says. About a year later, she brought her pencils and watercolors into Trump’s Manhattan criminal indictment, making a performance of her attendance in ’80s-esque outfits selected by the designer Mia Vesper, whose Lower East Side brick and mortar closed last year. Following the ear graze of an assassination attempt, she pitched herself to paint Trump at Mar-a-Lago, and he said yes. She’s still angling to do his presidential portrait—because, she says, all of her work is, essentially, an ongoing portrait of the president. “I got a lot of shit for drawing Trump, and I still get a lot of shit about what side I’m on, but I’m like, this is a big project and I don’t know where it’s going,” Brourman says. “Portraiture isn’t always valorous, scenes aren’t always valorous.” She notes Francisco Goya, who in his capacity as first court painter made what are now recognized as critical and satirical portraits of Spain’s monarchs and nobility. “It’s about following your own vision, which is the only way to slip through a broad-stroke, occupational, big-force thing.”

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    Keziah Weir

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  • Meet the MemeCoin Traders Risking Everything to Retire Their “Whole Bloodline”

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    Attention has always been valuable but difficult to price. A blue check on Instagram promises credibility; a large follower count or a viral moment can open a world of opportunity. Attract as many eyeballs as you like, but there was never any way to cash in on the gaze itself. “So it’s just the next phase,” says Bark, a crypto influencer who, according to a woman who knows him, is running what amounts to “a full-blown cult” on X. (“Anything he tells his audience to do, they’ll do,” she says. “You make people money, they’ll worship you.”)

    “Having clout and followers and blue check marks had value, but there was no way you could put a dollar on it,” Bark continues. “Now we’re putting a dollar on it.”

    This may be why people who spend most of their time making products that live on the internet are drawn to the world of crypto, where even micro-influencers can create tokens tied to their online popularity.

    One such influencer is a guy called Fluffy, who, when I met him at Meme House LA, gave the impression of an ebullient, larger-than-life Nintendo Mario, dressed in red-and-white-striped overalls and a red cap. Fluffy has his own meme coin, which, he says, “is so stressful because my face is on it. If this coin goes bad, it ruins my whole persona in Web3.” When Fluffy starred in a commercial for a crypto company called Bullpen earlier this year, his token’s total value increased from $28,000 to $40,000 because, as he puts it, “people saw me as the commercial, they saw that I was actually putting in work trying to entertain the world, which correlated to the token getting bought, and that makes me feel good.”

    There is an annoying problem with the nature of attention, however. It tends to alight on the collective imagination with seemingly capricious randomness. But what if you could control where attention was headed next? This, in the view of Amy Street, a former kindergarten teacher who became a crypto influencer after flipping two NFTs for a combined $18,000, is the current trajectory. “I’m not in control of whether or not Elon Musk uses the phrase DOGE over and over again or if Labubus are cool in two months,” she says. “But I do control if I’m gonna get a tattoo of an eggplant on my stomach. And if there is money on the line, people are gonna do some crazy stuff. Bull runs create hunger for money, and people do crazy things and put up a lot of money.”

    That comment about the eggplant tattoo is something Street picked up from a crypto company she’s working with called Dare Market, which has yet to launch. The idea is in the name: a market of dares where people pay bounties that others cash in on by recording themselves performing crowdsourced challenges. These dares, according to the company’s founder, Isla Rose Perfito, a bubbly blond 29-year-old living in New York, could include things like breaking into a Scientology center, moving into a McDonald’s for 24 hours, and getting people to streak at the Super Bowl. “The goal,” says Perfito, “is to break the internet. It’s like Black Mirror/Jackass coded but still super relatable. It’ll give you the feeling that you can change the world and the adrenaline rush of driving a fast car.”

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    Zoë Bernard

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  • Barbara Guggenheim and Abigail Asher Were Grand Dames of the Art World. Then Their Partnership Exploded Into Public Scandal

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    That was years ago, before Guggenheim and Asher’s professional love story exploded in the worst kind of divorce—with dueling legal complaints, personal attacks, and scandalous claims about sex and corruption. Guggenheim is alleging that Asher stole from their company to fund her lifestyle and that she launched her own competing advisory in secret. Asher is countering that it’s Guggenheim who dipped into the business, and that she had been “bullying, threatening, and gaslighting” Asher for the better part of her career. Both women are aghast at the other’s claims. Art world colleagues, still reeling from the conviction of top art advisor Lisa Schiff for defrauding clients out of millions, are in fresh states of shock. After all, the two women were a bedrock of the industry and seemed to be the perfect match. Guggenheim was the high-flying, glamorous face of the firm, giving lectures around the country, pairing masterpieces with masters of the universe. Asher was the younger, serious Brit working out of New York, bringing in a new generation of moneyed clients and nurturing them with care and fastidiousness. “It really did seem at the time like a match made in heaven,” says LA art adviser Patricia Peyser, who has worked closely with them for 20 years, and admires them both.

    Now, big-league names on both sides are jumping to each woman’s defense. “Abigail’s as honest as the day is long, an absolute stickler for form,” says longtime friend Adam Chinn, former COO of Sotheby’s, who’s done multiple deals with her. “She’s professional to the point of being beyond meticulous.” As for Guggenheim, her close friend Michael Ovitz, CAA cofounder and a major collector, says, “She’s one of the most trustworthy people that I know. I’ve never ever in 45 years caught her in anything duplicitous, any fibs, any storytelling, any lack of integrity. And Abigail’s trying to destroy her at this time is just crazy.”

    Indeed, Asher’s complaint is the more personal of the two. And today Guggenheim is stung. It was filled, Guggenheim says, “with vindictive, crazy lies, and exaggerations that were very dismaying to see, very upsetting from someone I had had a relationship with for three decades…. There’s only personal allegations and character assassination.” As Guggenheim continues talking back in the Park Avenue apartment, the iciness melts—her voice shakes at times and her blue eyes evince vulnerability. The impression of her shifts to lioness in winter, doing her best to keep her head high and hold on to her name and reputation as the woman who put her industry on the map.

    Guggenheim is not related to the Guggenheim museum family—though having that name couldn’t have hurt. She didn’t come from wealth. Her father was the owner of dress shops in Woodbury, New Jersey. In 1968, when she moved to New York to start on her master’s in art history at Columbia, there was just one major gallery in SoHo, the Paula Cooper Gallery. She worked her way through graduate school by giving talks at the Whitney Museum every Saturday and Sunday about whatever art was up. One day in the mid-1970s, one of the women in the group asked if Guggenheim would take her to SoHo to visit some galleries; by now more were popping up in the increasingly exotic neighborhood, filled with the world’s most avant-garde characters—think SoHo circa Martin Scorsese’s After Hours. As uptown’s guide through this exciting demimonde, Guggenheim could see that she was on to something. In 1975 she started her own business, Art Tours of Manhattan, taking locals and tourists to museums, galleries, and artists’ studios, like those of Bernar Venet and Christo and Jeanne-Claude. “I had to really understand what that artist was doing, and be able to explain it to people who didn’t have an art vocabulary but had the sensitivity and wanted to learn,” she says. There were plenty of rich people among the crowd. As Guggenheim tells it, a certain woman had just bought an apartment in UN Plaza, hired Angelo Donghia, the famous designer of the day, to decorate it, and now she wanted paintings—could Guggenheim help her? “I advised them to buy a Lichtenstein painting, a Donald Judd sculpture, and several other things. And at the end of the year, I looked at my balance sheet and I saw I had made a lot more money helping this woman buy art for her apartment than I did on many, many, many tours. But I’d never met anyone who could afford to have a painting before.”

    When she turned this into a business in 1981—Barbara Guggenheim Associates (BGA)—she was the only one doing work of that kind; there were other advisers out there, but they worked for museums. New galleries were exploding—“the Lower East Side became the hot spot,” recalls Guggenheim, who’d feed their business with a growing stream of clients. “Dealers, gallerists, and auction houses were delighted to see me bringing new clients to their businesses.” Uptown meanwhile, Impressionism was all the rage. “If you went into an apartment on Fifth Avenue, it would have French 18th-century furniture, puddling drapery, and French Impressionist paintings.” She recalls the couple trying to replicate the look, telling her, “‘We like Renoir, but we can’t afford it. What do we do?’ So I introduced them to American Impressionism, and they went on and created one of the best collections of American Impressionism in the world.”

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    Evgenia Peretz

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  • The Legend of Zohran

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    This positioning is growing increasingly difficult for prominent politicians on either side of our divide, and it can be particularly difficult in radical-tinged spheres like the New York left, where so many see ideological purity as a point of pride. I asked Mamdani how he had survived the blood sport this type of politics had become during the years when he’d emerged as a political figure.“Come on,” I said.

    “America deserves to know!” he laughed.

    He said that he hadn’t really lived through this kind of thing. “You’ll call this careful,” he said, “but I think it’s honest and direct. When you have run a paid canvass operation, like I did for the Najmi campaign, it becomes very tempting to work backwards from the IDs you need per shift.” He’d become a political operative so young that all he knew was practical politics.

    I brought up the Kennedy comparison, if only because without a base in DSA and the left to elevate him, I was curious how he’d managed to rise in politics in the first place.

    “Is that where you’re gonna go?” he said, laughing, and possibly flattered. I clarified that I didn’t mean it as praise exactly. I meant the combination of the privileged background, the dash and charm, along with the realpolitik stuff of winning over unions one steward at a time, and texting influential Black preachers over and over until they agree to let you come and talk. No one is born with this network or skill set.

    He insisted he really had come up through shoe-leather politics, but had also captured a cultural moment. “My path to the Muslim Democratic Club of New York was because I listened to Heems,” he said, adumbrating a rap lyric. “I was like, Oh, this is great, I should get on the F train and go to the second to the last stop and door-knock for Ali Najmi,” he said. “I remember going with Ali on Election Day,” he said, “and going to Dunkin’ Donuts, getting doughnuts, giving them to the poll workers, and the sadness of him losing that election.” It was such a distinctly New York image—the doughnuts on a sad day, the getting into something because you heard an indie rapper talk about it, the ethnic politics. The entire Mamdani project, in fact, is idiosyncratic, and specific to the international center New York has always been. I found myself asking whether or not he is worried by the prospect of governing, now that he’s been cast as a face of the left.

    TAKE TWO: Mamdani’s shock victory in New York’s summer primary was largely due to a major surge in young voter turnout. His next test is only weeks away.SINNA NASSERI

    “For as much as this is an immense responsibility,” Mamdani told me, “it is also an opportunity, and one that deeply excites me, the prospect of delivering on this agenda. People speak to me as if the campaign was one thing and then governing must be another. My job is to deliver on the promises that I have made. These are not anchors that I view tying my feet down. These are north stars that I will wake up every morning and head towards.”

    This is just how he talks. The issue that draws him to speak unguardedly is Palestine. “This is a city that is an international city, 40 percent, as I was telling you, of its residents were born elsewhere,” he said to me. He had just announced that his NYPD would arrest Israeli prime minister Benjamin Netanyahu if he set foot in New York.

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    James Pogue

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  • After Roadside Violence in Islamabad, Taha Siddiqui Fled to France—and Built a Watering Hole for All

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    Several years ago, the Pakistani journalist Taha Siddiqui believed his greatest risk was being killed by his country’s military. Things have changed. “Now the threat is just a drunk person,” he says lightly, “which is easier to manage.”

    It’s a Friday evening in July in Paris, and Siddiqui’s bar, The Dissident Club, is about to open. Siddiqui cracks jokes as he cleans up dirty glasses from the previous night.

    Siddiqui, 41, sports long sideburns and a goatee, a smirk, and a fedora. The hat has become something of a uniform for Siddiqui, who says he started wearing them when he opened the bar in 2020. “It’s sort of a personality thing for a bartender,” he says. “And they don’t say ‘Assalamu alaikum,’ ” he adds, referring to the Arabic greeting commonly exchanged between Muslims.

    In 2006, Siddiqui started his career in domestic media, quickly moving on to report for international outlets, including France 24 and The New York Times. In 2014 he won France’s prestigious Albert Londres Prize, named for one of the pioneers of investigative journalism. Much of Siddiqui’s coverage focused on Pakistan’s powerful military. “And the military did not like that,” he explains simply.

    Taha Siddiqui behind his bar.Louis Canadas.

    In 2018, while Siddiqui was en route to the Islamabad airport, a group of men stopped his taxi, beat him, and tried to abduct him. He managed to escape the car, run into oncoming traffic, and jump into another taxi, then hid in ditches along the highway until he made it to a service road, where he took another taxi to a police station. Soon after, Siddiqui, his wife, and their son fled Pakistan for France, where they have lived as refugees ever since. “There is my life before exile and my life after exile,” Siddiqui says.

    For Siddiqui, everything leads back to that attack, which he believes was orchestrated by the military. (The government has denied any involvement.) “In the back of my head, it’s always there,” he says. “The bar itself is a reminder.”

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    Liam Scott

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  • Dakota and Elle Fanning, Together at Last: On Growing Up, Finding Love, and Making ‘The Nightingale’

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    Elle aims similar protective energy at any man in Dakota’s life. “I actually screamed at someone for her. I didn’t throw a drink, but I did knock it over and accidentally spilled on the guy,” she says. Dakota is currently single: “I’ve had some doozies lately! But one day….” Elle chimes in with a huff. “These guys. What is wrong with them? How dare they!”

    I ask if either of them has dabbled in the invite-only dating app Raya. They exchange a look. “She has never done this. Ever,” says Elle. “And then the other day—”

    “I did it for fun,” Dakota interjects. “My girlfriend made it for me.… I was like, if I don’t, then I’m going to think—”

    “Maybe my husband is there,” Elle finishes for her.

    “I can confirm that he is not,” says Dakota.

    Elle urges Dakota to show us her Raya anyway. “I haven’t seen a ton of familiar faces yet,” Dakota says, scrolling through a few suitors. Elle notes, correctly, that they all look exactly the same. Then Dakota reveals why she really made her profile: “Guess what my song is.”

    “You already told me,” says Elle. It’s “Salt Shaker,” the biggest hit from early-aughts hip-hop group the Ying Yang Twins. Dakota sighs. “I’m canceling this thing.”

    Long after our Dakotas have been emptied, I ask the Fannings what this moment means to them. For Elle, it brings to mind a Donna Lewis song released in the four-year gap between their births: “I love you, always forever / Near and far, closer together / Everywhere, I will be with you /Everything, I will do for you.”

    “When I hear that song, I always think of us,” says Elle, her voice breaking. Dakota reaches an arm across the table. Elle starts to cry, then laughs. “I am on my period,” she says, sending us all into hysterics. “And we talked about when I first got my period yesterday too!” (She was 14 and first felt the cramps at a Chanel fashion show in Paris. “Not relatable,” she said then with a laugh and a shrug.)

    Perhaps to make her little sister feel less alone, Dakota launches into her own story. “This wasn’t my first period, but it was early days.” Dakota was attending the 2009 NAACP Awards with her castmates from The Secret Life of Bees. “I was in a nude chiffon kind of babydoll dress that I think was BCBG.… We got home, and Mom goes, ‘What is on…. Oh. Dakota….’ It’s covered. Now, I’ve never seen any photographs—”

    “OceanUp,” Elle and I say in unison.

    Then it’s Dakota’s turn to get mushy. Because of Elle, “I’m able to have confidence and security in my life,” she says. “If I lost every friend I have on the planet—”

    “The extremes!” Elle shouts, dabbing her eyes with a cloth napkin.

    “I’m just saying,” Dakota continues. “If everyone in my life stopped talking to me, I’d be devastated. But if I still had my sister, I’d be like, ‘Well, I have her.’ ”

    Sittings Editor: Dara Allen. Hair, Orlando Pita; Makeup, Fulvia Farolfi; Manicures, Deborah Lippmann; Tailor, Aneta V. Produced on location by Portfolio One. For details, go to VF.com/credits.

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    Savannah Walsh

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  • Jeremy O. Harris Is the Greatest Showman

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    Except nothing came of it. In 2022, The Daily Beast reported that Harris had been let go from the show “after having trouble meeting script deadlines.” HBO said Harris was “not fired from The Vanishing Half,” citing creative differences that were “part of the normal development process,” and called Harris “a valued collaborator.” He’s since worked with the network on a documentary about Slave Play called Slave Play. Not a Movie. A Play.

    Harris, who calls the The Daily Beast “a gossip rag,” stands by his work. He fondly remembers a staff research trip to New Orleans that he organized and blames the show’s fate on systemic issues at the network. (The Daily Beast did not respond to a request for comment.)

    “The reason the show didn’t happen is because the book was bought at a very specific time, in June of 2020,” Harris says. “HBO changed leadership within that time period. The Black woman who advocated for our show to be bought, and was our executive, left.” That woman, Kalia Booker King, departed to work for Sinners director Ryan Coogler’s production company, Proximity Media. But King’s departure wasn’t the only factor. “I don’t think that the pairing of our producers and me and Aziza as writers was necessarily fully a fit. I think that Issa Rae would’ve made an amazing version of the show in her own way. I don’t think she would’ve made the version that me and Aziza were making.” (Rae did not respond to Vanity Fair’s request for comment. HBO and King declined to comment.)

    Harris has been accused of caring more about his public persona than his written work. Several people I’ve spoken to—including a film and television actor and theater professionals—suggest he has been known to be unreliable, a natural consequence of being overcommitted and overextended. Harris’s talent, they agree, is undeniable. But there are concerns about his follow-through, according to these sources, none of whom were willing to go on the record for fear of alienating Harris, who has a penchant for responding publicly and ferociously to his critics. (See: Jesse Green, Young Jean Lee.) Fear of retaliation notwithstanding, a question hangs over this gifted writer’s head: Is he self-obsessed, or are people just obsessed with him?

    “He loves to take on more than he should,” says his former CAA agent, Ross Weiner, reflecting on the roughly eight years he spent representing Harris before he left the industry. “But it was always a good thing.” As of this story’s publication, Harris has no less than six projects in various states of development on IMDb Pro, including The Wives and the seemingly abandoned The Vanishing Half.

    Some past collaborators praise him even when the project doesn’t work out. Sydney Baloue, a writer on The Vanishing Half, calls Harris “the creative genius of our time” and said he had an “incredible” experience working on the show. “Jeremy is a brilliant writer,” says Allain. “He and Aziza put together an incredible room of writers who delivered several knockout scripts. Sadly, not everything in development gets made.”

    On December 15, 2024, Barnes died by suicide. “I was the person that had to call everyone from the writers room and tell them,” Harris remembers. “The thing that got me through was thinking about the fact that there are so many parties Aziza just didn’t want to be at. No matter how social I tried to ask them to be….” He takes a beat. “Life is sort of a party that none of us asked to be invited to. I don’t know that it’s my place to demand that someone stay, while also having a lot of sadness that they’re gone.”

    You’re going to go to this play with me now,” Harris commands as we finish our meal at Dimes. It’s called Trophy Boys, an off-Broadway production directed by Tony winner Danya Taymor and starring The Gilded Age’s Louisa Jacobson—another close friend of Harris’s from his Yale days. Though this wasn’t the plan, one doesn’t say no to Harris. I get the check.

    On the way, he rolls calls—putting out more theatrical fires while texting Gerber. There’s a controversial big-time producer who wants to see Prince Faggot. “I’m going to get him in tomorrow,” Harris tells one of his agents over the phone. “I have reached out to the man many times. I’m telling you right now: If this man loved me, if he was obsessed with me, if he needed me, he would call me every hour on the hour till I answer.”

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    Chris Murphy

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  • Bruce Willis and Emma Heming Willis Built a Love and Life Together. Then, She Says, Everything Came Apart.

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    “Are you kidding?” Emma says when I ask her if Bruce would have been okay with that before he developed FTD. “No, it’s my husband. No. He knows what’s what. He makes the decisions. He’s the one.”

    Besides Kraft, Golde, Bruce’s doctors, and the family, Emma kept everyone away, desperately trying to protect her very famous husband’s privacy—something she now recognizes might have been her own stigma around a disease she had never really thought about.

    But when she was alone, Emma’s life was “derailed.” She had no idea what was going to happen next. She was trying to parent their young daughters, Mabel, now 13, and Evelyn, 11, while simultaneously keeping the house calm and quiet for Bruce. Emma was doing everything herself: trying treatments, making appointments, grasping for any kind of problem Bruce’s symptoms could be attributed to that might have an answer. She wished he would be diagnosed with a benign brain tumor. It is the kind of hope one has only when things are well and truly fucked, but a possibility that might mean this could be reversed, and things could go back to how they were. Early on, Emma was also afraid to share what was happening with anyone—it felt like that would make it real.

    “I was very angry, very upset, very sad,” Emma says. “It was really hard for me to just separate what I was pissed at and who I was pissed at. I just wasn’t in a good state of mind. And it wasn’t good for Bruce, it wasn’t good for our children, it wasn’t good for anyone—especially not me.”

    In Golde, Emma found someone who understood the pressure of isolation—Golde’s (also alpha) husband had initially made her promise not to tell anyone about his dementia, which became increasingly personally taxing as well as difficult to hide when his behavior became more noticeably aberrant to friends. Golde told Emma that, from surviving that time, she learned “just because one person gets the diagnosis doesn’t mean both people have to die.”

    Bruce would not be involved with his own coming-out process: He and Emma did not yet know this, but the part of his brain that controls self-awareness was deteriorating. Bruce will never understand what happened to his brain.

    Photograph by Norman Jean Roy

    In March 2022, after doctors recognized Bruce’s aphasia—a difficulty with communicating and processing language—his family put out a statement. “To Bruce’s amazing supporters, as a family we wanted to share that our beloved Bruce has been experiencing some health issues and has recently been diagnosed with aphasia, which is impacting his cognitive abilities,” read the post, signed by Emma, Moore, and their daughters. “As a result of this and with much consideration Bruce is stepping away from the career that has meant so much to him.”

    People criticized the decision to have “let” Bruce continue making movies until that point, which he had done in those last few years with the aid of an earpiece feeding him dialogue. Filming had been Bruce’s decision, Emma says, and one unimpeded by any diagnosis. “When someone wants to work,” she asks, “how do you stop someone from working?”

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    Anna Peele

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  • A Night at Ned’s: The $5,000 Price Tag for Cocktails With the MAGA Set

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    The moment I arrive at Ned’s, the glitzy new private club in Washington, DC, that’s become a hotspot for the MAGA crowd, I’m handed a dark green sticker by the concierge and instructed to place it over my phone camera. Still in a daze from the heat, I walk into the elevator and fan myself with my book before the doors open and I’m softly launched into a decadent living room.

    Soon, I’m sipping a spicy tequila drink while a State Department official laughs off the agency recently firing more than 1,300 employees, suggesting it should’ve been twice as many. Later, a senior administration official, dressed down in a teal golf shirt and sitting in a velvet armchair, introduces himself as the man “protecting the nukes,” before dipping back into his chat with a young man about weapons of war. An acoustic rendition of “Just the Two of Us” plays across the dimly lit bar.

    Cabinet secretaries, like Howard Lutnick at Commerce and Scott Bessent at Treasury, are known to swing by Ned’s. Jared Kushner has been spotted here too. On Sundays, members enjoying sundowners on the club’s rooftop bar have watched Donald Trump returning from Mar–a-Lago on Air Force One. One young Republican member, CJ Pearson, suggests that Ned’s “isn’t a partisan club,” but is “definitely the place to be in DC these days.”

    “On any given day, you can find yourself next to a cabinet official in the Trump Administration or an anchor for MSNBC,” Pearson tells VF. “You never know who you’ll run into, which I think is a part of the appeal.”

    He’s right that Ned’s member list also includes Democrats, like Symone Sanders-Townsend, the former Kamala Harris adviser and current MSNBC host, as well as journalists, such as CNN’s Kaitlan Collins and The Wall Street Journal’s Josh Dawsey. It’s also been the location for extravagant soirees since launching in January, from The Washington Post’s reported million-dollar brunch following the White House Correspondents’ Dinner to a recent invite-only AI event, where the tech elite, like OpenAI’s COO Brad Lightcap, hung out with Washington policymakers.

    Yet, on this night, the vibe feels decidedly Trumpy, which surely speaks to a cultural shift in the capital these past six months. It feels rare now to be at a club, restaurant or social occasion that is truly non-partisan. My friends tell me that even sports bars and Mexican restaurants in D.C. have been weaponized politically – after-work havens for the young, ever-ambitious MAGA set.

    I’m not the only one who senses it with Ned’s. “When I’ve been there, it’s been packed with Republicans,” Sally Quinn tells VF.

    Quinn, a trailblazing journalist, author, and Washington society fixture, isn’t a member of Ned’s, but has visited the club, including for a recent crypto party. She says some younger journalist friends have joined because there will be “someone from the administration they can hit up about a story they’re doing,” making it valuable from a reporting perspective. Meridith McGraw, a White House reporter at The Wall Street Journal, suggests you can sense how the city’s social scene changes with who’s in power.

    “It might be a polarizing era of American politics, but Democrat or Republican, MAGA or not, everyone wants to try the trendy new restaurant or go to a fun party to meet people,” she says. McGraw adds that in addition to Ned’s, a newer restaurant near the White House called The Occidental is another spot where you’re highly likely to run into someone from the administration.

    Members’ clubs aren’t a new phenomenon in DC, where they’ve long functioned as havens for those with power and influence to socialize discreetly. The Metropolitan Club, for one, lists at least a half dozen former presidents as members, while Cosmos Club, founded in 1878, has had its share of presidents and Supreme Court justices hobnobbing beneath its Renaissance–style ceiling paintings. I’m told, though, they’ve become more popular in DC under the new administration—where hot spots have shifted, and even the places that were popular under Trump’s first term have gone out of fashion.

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    Olivia Empson

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  • Elon Musk Has His Vision. Waymo Chief Tekedra Mawakana Says She’s Got a Better One

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    Tekedra Mawakana won’t take the bait, no matter how many times I try. The co-CEO of Waymo, which operates the biggest fleet of driverless cars in the country, is rolling through the streets of downtown San Francisco with me in a modified Jaguar I-Pace. Elon Musk has claimed he’s coming to take down Waymo and its more than 1,500 robotaxis with competing Teslas that can operate in “Full Self-Driving” mode—beginning with a 20-vehicle invite-only autonomous taxi service that’s started testing in parts of Austin. In 2019 Musk pledged to have a million Tesla robotaxis in service by 2020. So far, the Austin experiment hasn’t exactly been flawless. Can you believe he’s trying this again? I pepper Mawakana in the back of the Jag. When his “self-driving” cars need a human in the seat to keep from crashing? “I don’t know,” she half-whispers, looking out the window. She lets out a quiet challenge to Musk, even as she makes it a point not to say his name. “There’s zero evidence of anything. And there’s so much talk about it. We have a whole service across many cities, right? It’s not a play to have fanboys. It’s a play to, like, actually change people’s lives.”

    Waymo and Tesla are in the same game, at least from this angle. Mawakana’s company has built an autonomous driver, made of a suite of sensors and software, that can be used in vehicles from multiple car companies; Musk has said that if his cars can’t drive themselves, Tesla is “worth basically zero.” Each is using robotaxis as proof of concept. The similarities end there.

    Mawakana, like the business she helps lead, is deliberate, strategic, focused, cautious. Waymo is her one and only company, and she shares the leadership duties. Musk is Musk. Mawakana is a safety obsessive, as is Waymo. Musk is emblematic of the move-fast-and-break-things ideology. While Full Self-Driving Teslas have killed multiple people, Waymo vehicles have not killed a single person. Musk is apparently convinced that all Teslas need to drive themselves are advanced cameras and the right amount of AI. His cars start at $42,000; hers, outfitted with 29 of those cameras plus advanced radar, laser range finders, and acoustic sensors, can cost seven times as much. She’s a lawyer by training and spent much of her career at the nexus of government and technology. Musk, in fairness, also spent time at the nexus of government and technology—130 rocky days. She’s one of a handful of Black female (or Black, or female) chief executives in Silicon Valley; he goes on his social media platform to whine about how “teachers in California spend their time indoctrinating kids in DEI racism & sexism & communism.” It’s hard to imagine Musk on skates (though he appears to be making good on his promise to build a “roller skates & rock restaurant” in Los Angeles). Mawakana says, “I can be found with roller skates and a beach tent in my trunk at all times.”

    It sounds like a cute study in contrast. Except the future of the global automotive industry—and how we move through cities—could be at stake, depending on which CEO’s vision wins out. Tesla is by far the bigger company, with annual revenue of almost $98 billion and about $7 billion in earnings, compared to an estimated $75 million in revenue and an estimated $1.12 billion in losses last year for Waymo. Mawakana doesn’t have great answers for how many jobs her autonomous vehicles might eventually cost (opponents say it could be millions), or how many people it currently takes to supervise her self-driving fleet (her deputies will only talk about the “minutes of human time” needed for each hour on the road), or the resilience of that fleet when protesters start lighting her robocars on fire (in Los Angeles last June). But when it comes to autonomy, Mawakana is ahead. Waymo is logging at least 250,000 driverless paid rides per week in Austin, Phoenix, Los Angeles, and Silicon Valley, more than 10 million such rides overall. Waymo had expanded its operations to Atlanta on the day Mawakana and I rolled through San Francisco together. Miami and DC are next, and Waymo has begun preparation for New York City.

    “She believes the technology should speak for itself, in customers’ hands, as opposed to telling customers what to believe about the future,” says Alex Roy, a general partner at New Industry Venture Capital and a former executive at Argo, the Ford-backed autonomy company. “That’s why I call her the un-Elon.”

    Tekedra Mawakana speaking at SXSW at Waymo’s Austin launch.Travis P. Ball/Getty Images.

    Mawakana lives a low-key life, at least by Silicon Valley mogul standards. She wasn’t invited to the Gilded Age Bezos wedding in Venice. She doesn’t bowhunt with Zuck, and she’s not joining Sam Altman in his doomsday structures. She lives in the same Bay Area home she bought when she was briefly a VP at eBay, in 2016 and 2017. Her art collection is modest, largely centered around Black and female artists, and is a “celebration of goddess energy.” She spends a chunk of her weekends going to her son’s basketball games; sometimes she’ll take him to Coachella or Rolling Loud. Vacations often involve a group of girlfriends sailing in the Caribbean or going to EDM festivals. Her big splurge last year was a quick trip to Paris for Vogue World.

    “I’ve been, for a long while, toiling away at this and pretty under the radar,” she says. “I genuinely have come to this through a very different path than most people and have arrived in it in a different capacity. And so, like, you know, it looks different” from the tech-CEO cliché.

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    Noah Shachtman

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  • How a Death Row Murderer Exposed One of America’s Most Prolific Serial Killers (Part 2)

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    Before Mains would tell Berkeley Police that he’d solved their case, there was one more thing Mains wanted Noguera to do. He printed out a couple of photos of Connes, a freckle-faced young woman with dark blond hair parted in the middle and a small scar on her lower lip, and sent them to Noguera, asking him to “observe [Naso’s] reaction” to seeing them.

    By that time Noguera’s job in the Medically Restricted Yard had ended, so he wasn’t in contact with Naso as much as he had been before. He was awaiting transfer to another prison, which could happen any day without warning. But the day after the Las Vegas Raiders defeated the Jacksonville Jaguars in an NFL Hall of Fame game in August 2022, he knew Naso would be in the yard wanting to recap the game—he was a huge sports fanatic. Noguera kept the photos of Connes on him and wasn’t surprised when he was called over from the adjacent yard by Naso, asking what he thought about the game. Noguera slipped the pictures of Connes through the fence without saying a word and noticed how Naso began to excitedly stroke one of the photographs, asking how on earth Noguera managed to find her. Noguera repeated his refrain: “You know, Joe, I got a lot of friends in low places as well as high places.”

    “She’s one of my special ones,” Naso said, according to Noguera, “the Girl from Berkeley.”

    As Noguera tells me now, “Everything in that one moment felt like it was all completely worth it.”

    The last time Celeste Connes heard her daughter Lynn’s voice was on Mother’s Day in 1976. Had she known that Lynn was going to model nude for an unknown photographer, “I would have come all the way to California from N.C. to stop you,” she wrote in an open letter that was published in a local newspaper the following year. Celeste died in 1988. Lynn’s gravestone, located right below her mother’s in the Thomasville City Cemetery outside of Winston-Salem, North Carolina, still says “Missing.”

    Lynn’s younger brother, Lee Connes, 64, who oversees maintenance for the cemetery where those gravestones lie, met with Mains in May. After Mains showed him the letter Naso wrote about the “Girl from Berkeley,” Lee told Vanity Fair he’s “99.9 percent sure” that Naso was responsible for Lynn’s death. “It’s a lot to process,” he said. “It’s amazing that after so long there was anybody that had an interest in trying to solve it. We are lucky that [Noguera] tried to get the ball rolling and was concerned enough to find out what happened.”

    He is now considering updating his sister’s memorial to reflect that she’s no longer missing. “We were very close,” he said. “It’s been so hard to ever say she was deceased. It takes a bit to settle in.”

    In 2023 Noguera was loaded onto a bus and driven 250 miles south of San Quentin to Corcoran State Prison, carsick the entire way because he hadn’t been in a vehicle in more than 30 years. The Ninth Circuit had reversed the overturning of Noguera’s conviction and resentenced him to life with no possibility of parole. This was not what Noguera had hoped for, but it was a “crack in the armor that allowed us to stick our foot in,” says his lawyer, Andrew Nechaev. He asked the court to invoke California’s penal code 1385, which gives judges the authority to dismiss punishments deemed frivolous. In his brief, Nechaev described how much criminal law has evolved in the past 40 years and urged the court to consider that the brain of an 18-year-old—the age at which Noguera committed murder—is now understood to be undeveloped. He also wanted the court to consider the trauma of his client’s upbringing, the poor legal representation he received at his trial, and the fact that the testimony backing the claims of “special circumstances”—that the motive for the murder was financial gain—was shown to have been coerced. “This case was so botched,” Nechaev told me. “Having reviewed the appellate history, it’s just astounding, the level of incompetence.”

    To Noguera’s amazement, a conservative Superior Court judge in Orange County took interest in his case and ultimately agreed with his lawyer that the special circumstances were invalid. Over the summer of 2024, Noguera was resentenced again to 25 years to life, but because he had already served more than 40 years, he was immediately eligible for parole. He didn’t want to get too excited, because even if the parole board decided to release him, the governor had the right to reverse the decision. Nechaev told me that he and Noguera made a “judgment call” early on to stick to the merits of his case when dealing with the parole board and not to mention any of Noguera’s freelance detective work. “We didn’t think it would help,” says Nechaev, adding that securing his own freedom had never been Noguera’s primary motivator in working with Mains to solve cold cases. Indeed, Noguera began working with Mains while he was still on death row, before he knew that parole would ever be a possibility.

    While Noguera was waiting for his first parole hearing to be scheduled, he and Mains continued to focus on solving the remaining three murders on the List of 10: “Girl near Heldsburg” (number 1), “Girl on Mt. Tam” (number 4), and “Girl from Miami Near Down Peninsula” (number 5).

    They had reason to believe that “Girl on Mt. Tam”—short for Mount Tamalpais, a Marin County landmark—was the one that Naso bragged was incorrectly pinned on the Dating Game Killer, Alcala. In 2011 the Marin County Sheriff’s Office held a press conference to announce they were “confident” that Alcala killed 19-year-old Pamela Jean Lambson 34 years earlier. Alcala was already incarcerated at San Quentin and was never charged with Lambson’s murder. He always denied it, even as he admitted to other murders. Noguera, referring to his “consistency of behavior” thesis, found this interesting.

    Also interesting were the circumstances of Lambson’s disappearance. An aspiring singer and actor, Lambson vanished after meeting a photographer who had singled her out at an Oakland A’s game, told her she was beautiful, and offered to help her with her headshots. She later went to meet the photographer at Fisherman’s Wharf in San Francisco and never returned. The police found her battered body posed in front of a trail leading to Mount Tam the next day. Based on what Naso told -Noguera, including how he hunted for victims at A’s games—he went so far as to create fake press credentials and business cards—Mains was convinced that Naso was the real killer. Alcala didn’t pose his victims, nor was he known to be in Oakland at the time of Lambson’s disappearance, according to Mains. Naso was.

    The Lambson family had always questioned whether long-haired Alcala really fit the description of Pamela’s killer. Her brother, Michael Lambson, now a 71-year-old plumbing contractor in Englewood, California, says he will never forget what Pamela said before she left to meet the photographer at Fisherman’s Wharf, when Michael expressed concern about who this random man was. “She said, ‘He could be my dad, Mike,’ ” he recalls. At the time of Pamela’s disappearance, Alcala would have only been in his early 30s, a decade younger than Naso, who was approximately the same age as Pamela’s father. Michael told me that he and his brothers are now convinced that Naso is the real murderer.

    In 2024 Mains sent all of his notes on the Lambson case to the Marin County Sheriff’s Office but says he didn’t hear back. While reporting this story, I left two messages there. I eventually received a call from Deputy Chief Adam Schermerhorn, the department’s public information officer, who said that, based on new information, Marin County’s cold-case team is currently trying to determine if Naso had “any potential involvement” with Lambson’s murder. Given that the murder was pinned on Alcala, is the sheriff’s office going to make an announcement that the case is being reopened? “We do not have any announcements scheduled at this time,” he told me.

    Using facial recognition, Mains says he was also able to match one of the photographs from Naso’s collage that he gave to Noguera to another potential victim who was not on the List of 10: Rebecca Jean Dunn, a Las Vegas sex worker who went missing in 1979. At the time, Naso was spending a lot of time there after separating from his wife. He set up a photography studio near the Strip, where he would hunt for victims, according to Noguera. After receiving Mains’s report about Dunn, the Las Vegas Metropolitan Police Department reopened the case, according to a person close to the matter, though the department’s public information office wrote in an email to Vanity Fair that “[t] here are currently no new leads in this investigation.”

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    Rachel Dodes

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  • How a Death Row Murderer Exposed One of America’s Most Prolific Serial Killers (Part 1)

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    The last time anybody saw Charlotte Cook was January 3, 1974. That afternoon, the college student and community organizer, a young mother and widow, left her home in Oakland to visit her sister in San Francisco, decked out in disco-era style: knee-high boots, a blue sleeveless blouse, and a camel hair coat. When her body was discovered the following day at the bottom of a bluff overlooking Thornton Beach in Daly City, California, a brown belt wrapped around her neck, it was the description of her “expensive camel’s hair coat” in local press reports that led her father to identify her. She was 19.

    Cook’s daughter, now 52, says that when she was growing up in her great-grandparents’ home, nobody in their close-knit family, not her great-grandparents, not her aunts or uncles, would ever talk about her mother. Any time the name Charlotte Cook came up, a hush would descend over the room, indicating the topic was off-limits, too painful. “I never knew what to think,” says Freedom Cook, a massage therapist, activist, and preschool teacher in Vallejo, California. “I just thought I had a mom and she was just out in the world somewhere, and I don’t know what happened.” Freedom was 12 when one of her aunts finally informed her that her mother was dead.

    For decades, nobody knew who was responsible for Charlotte Cook’s death. Then, in January, Freedom was shocked to learn that the man who murdered her mother was almost certainly Joseph Naso, a 91-year-old convicted serial killer, a death row inmate at California’s San Quentin prison. Even more surprising was that Charlotte’s murder—Daly City’s oldest “active” cold case—was solved not by the local police but by William A. Noguera, another convicted murderer at San Quentin. Noguera, who served 36 years on death row, calls himself “the Jane Goodall of serial killers” because he’s spent more time embedded with them in their habitat than practically anyone, including FBI profilers and forensic psychologists. One of the killers he closely observed on death row was Naso.

    In spite of overwhelming evidence, Naso has never publicly admitted to killing anyone. But during the 10 years that Noguera overlapped with him at San Quentin, Noguera says he got him to reveal his secrets by pretending to be his friend and protector. Armed with 300 pages of notes about his interactions with Naso, containing descriptions of alleged victims and the timing and circumstances of their deaths, Noguera then wrote to Kenneth Mains, a cold-case detective he saw on TV, and persuaded him to collaborate with him to identify more victims. Thus far, the convict-cop duo has linked Naso to four unsolved murders, and they are working on solving several more.

    Mains, a compact man with a -closely cropped gray beard, arms covered in sleeves of tattoos and a large cross dangling from his neck, admits “it’s an unlikely friendship, convict and cop,” adding that without Noguera, “none of this would be happening.” Although he’s based in rural Lycoming County, Pennsylvania, Mains is currently in contact with the San Francisco office of the FBI and is providing intelligence to six police departments across the country, including Northern California, Las Vegas, and Rochester, New York. Mains and detectives involved with investigating the cold cases believe that Naso, convicted in 2013 of four murders, is possibly responsible for as many as 22 more. That would make Naso among the most “prolific” serial killers in American history, perhaps more deadly than better-known murderers like Ted Bundy (20 victims), Jeffrey Dahmer (17 victims), and Richard Ramirez (13 victims).

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    Rachel Dodes

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  • Find Delight In Great Escapes, From Giotto’s Padua To Dries Van Noten’s Rose Garden

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    Don’t let waning summer days quell your wanderlust. Journey to Renaissance-era Venice, through the halls of the newly renovated Frick Collection, and across Chilean archipelagos.

    Adobe Stock/Courtesy of the publisher.

    ITALY: IN THE FOOTSTEPS OF THE GREAT ARTISTS

    On the outskirts of Padua, in a 14th-century chapel, a Giotto fresco glimmers with gold stars. Art historian Nick Trend charts a Renaissance and early modern masters course, rife with intrigue and lush in imagery, through Verona, Rome, and more. (Thames & Hudson)

    Image may contain Architecture Building Furniture Indoors Living Room Room Interior Design Floor and Flooring

    Miguel Flores-Vianna/Courtesy of the publisher.

    THE FRICK COLLECTION

    Deputy director and chief curator Xavier F. Salomon serves as guide to the history of Henry Clay Frick’s Upper East Side mansion through its newly updated galleries housing masterpieces by Fragonard, Manet, and Vermeer. (Rizzoli Electa)

    Image may contain Garden Nature Outdoors Arbour Grass Park Plant Fence and Hedge

    Jean-Pierre Gabriel/Courtesy of the publisher.

    THE CONTEMPORARY GARDEN

    An immersive look at all manner of verdant dreamscapes, from New York’s Little Island to private endeavors like designer Dries Van Noten’s Victorian-inspired rose garden. (Phaidon)

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    Madison Reid

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  • The NFL Broadcast Boot Camp Is Where Today’s Players Become Tomorrow’s Pundits

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    Long already serves as an analyst for a pregame show on CBS Sports Network and cohosts a podcast that covers the NFL. But even with his experience, Long thought a few days at the boot camp could do him well because it was an “opportunity to be around the masters” and broaden his repertoire. While his dream job is to be an analyst on The NFL Today, CBS’s flagship Sunday pregame show, Long also attended to get reps calling games from the booth. “I knew I wanted to do studio,” he said, “but you come to this boot camp and you get to try on a couple different pairs of pants.”

    The boot camp origin story begins with Vaughn Bryant, a former manager in the NFL’s player development office. Bryant worked to help players find professional opportunities outside of football, a chapter that comes sooner than later for most. The average length of an NFL career spans only about three years, and Bryant’s job was to provide resources to ease the transition to civilian life.

    Bryant once made that transition himself. After being drafted by the Detroit Lions in 1994, he bounced around the league for a couple of years before hanging up his cleats. With his playing career over, Bryant landed an internship at CNN, where a producer invited him to sit behind an anchor’s desk and simulate a studio show. Years later, when he started his job in player development, he kept thinking back to that day—and then he got inspired.

    “I was like, Wait a minute, we could re-create this at the NFL Network or at NFL Films, and we can bring in all of our network partners, simulate every discipline and do that for our players,” Bryant said. He went to his next meeting with the pitch in his back pocket. “I already had a name for it: the NFL Broadcast Boot Camp,” he recalled. Bryant figured he’d have a year to get the program off the ground. His bosses had other ideas. “They were like, Nah, you gotta do this as soon as possible,” he said.

    In June 2007, about half a year after Bryant floated the idea, the inaugural boot camp was held at the headquarters of NFL Films in Mount Laurel, New Jersey. Early interest was minimal: Only about 30 players applied. But players talked, word spread, and by the second year the league received close to 100 applicants. “You do it once and anything that the players have a good experience with, they’re going to tell their teammates,” said Bryant.

    The boot camp has evolved with the media landscape, tailoring its curriculum to a world now dominated by podcasts, social media, and smartphones. But the shift is perhaps most evident in the players themselves, with this year’s campers boasting considerably more media experience than their predecessors. Along with Long, the group also included Willson and former wide receiver Stevie Johnson, who work as analysts for the Canadian sports channel TSN. Avant, meanwhile, is a commentator for several local outlets in Philadelphia.

    Player-hosted podcasts have come to saturate the medium in recent years, with shows led by NFL stars such as Jason and Travis Kelce and Micah Parsons among the biggest in the genre. That represents another shift—specifically, in what teams permit. Jason McCourty, an analyst for CBS, said that coaches and front-office personnel expected a player’s focus to be entirely on football when he entered the league in 2009. “If you were drafted and you’re talking about starting a podcast or how you’re going to be on a local TV station, teams would look at you crazy,” said McCourty, who attended the boot camp in 2022. Now, he added, “teams are seeing there’s no way to avoid it.”

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    Tom Kludt

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