Frances Haugen, a former Facebook data scientist, copied thousands of pages of internal documents and webpages before she left the company. Then she shared those materials with The Wall Street Journal, which began publishing stories about them last month under the heading “The Facebook Files.” Weeks later, she began to parcel the materials out to a consortium of news organizations, including The Atlantic.

With the finish line in sight (if still stubbornly out of reach) for the Democrats’ massive social-programs and economic development bill, the party now faces the challenge of focusing the attention of its key constituencies and the public on what remains in the package, not on what was cut in the exhausting legislative maneuvering.

When the coronavirus pandemic first interrupted life around the world, you likely felt fear for your loved ones and confusion about the future. You might have experienced some less dire pangs too: an urge to stock up on chocolate bars, some relief at not having to commute. Maybe you even had a thought like the one Lana Del Rey shares in her new song “Black Bathing Suit”: “If this is the end / I want a boyfriend.

In a booth at Ted’s Fish Fry, in Troy, New York, my friend Daniel Beck and I sketched out our plans for the metaverse. It was November 1994, just as the graphical web was becoming a thing, and we thought that the 3-D web could be just a few tweaks down the road. In our version of the metaverse, a server would track the identity of objects and their location in virtual space, but you’d render the objects locally, loaded to your hard drive off of a CD-ROM.

Every Edgar Wright film to date has been a bubbling cauldron of movie homages, winking visual gags, and genre tributes. The British director emerged as a noteworthy filmmaker in 2004 with Shaun of the Dead, a “rom-zom-com” that chucked classic George A. Romero–style zombie movies in a blender with a comedy about a man-child who just needed to grow up.