Go ahead - fascinate me!

Posted by Megan Rogers

https://www.mcsweeneys.net/articles/to-fold-the-superstroller-you-must-first-earn-an-engineering-degree

At SuperStrollers, we’re here for you, new parents. That’s why we’ve designed the world’s safest stroller with effortless steering and ample storage that’ll take you from the playground to the grocery store with ease. The best part? It’s super easy to fold as long as you have an advanced STEM degree.

To fold the stroller so it fits in your trunk, unbuckle your little one. Then, using the hand that isn’t holding your baby, execute the press and twist. Simply click the button that’s hidden under the seat cover while simultaneously twisting the handlebar that’s an arm’s length away by understanding and relying on angular momentum.

Seriously? How can you not figure this out?

It’s probably because you’re not a good parent. A good mom or dad would intuitively know how to maneuver the two-hand close with one hand and would definitely have an understanding of the big crunch, which is both the physics needed to close the SuperStroller and also the theory that the ultimate fate of the universe is to collapse into a black hole singularity.

You spent hours researching baby strollers, reading safety reports, and scouting sales. Did you consider studying basic quantum physics instead?

All you need to do to fold the SuperStroller is lift the lock, pull the lever, and apply Newton’s second law of motion.

Parents rave about our stroller’s all-wheel suspension and multiple beverage holders. Best of all, you can carry the SuperStroller around once you collapse it, as long as you have superior spatial reasoning and a functional pelvic floor.

Try folding it again. This time, stay calm. Remember, babies mirror our nervous systems, and we’d hate for the little one to get all out of sorts because you cannot figure out how to close our stroller, a task that requires a passing grade from an undergraduate-level physics course and a full night’s sleep.

There you go. Now you’ve got a collapsed stroller that you can tote anywhere. With the stroller over one shoulder, the diaper bag on the other, and a crying baby in between, you’ll be ready for your first post-delivery breakdown at the coffee shop.

And remember, to unfold your stroller, simply scream into the void.

https://www.mcsweeneys.net/articles/to-fold-the-superstroller-you-must-first-earn-an-engineering-degree

Posted by Patrick Coyne

https://www.mcsweeneys.net/articles/i-am-emperor-caligula-and-even-i-think-the-white-house-ufc-event-is-a-bit-much

I am Emperor Gaius Julius Caesar Augustus Germanicus Caligula, successor of Tiberius, Son of the Divine Germanicus, and Supreme Commander and Holder of Tribunician Power, Pontifex Maximus. And I decree, in regard to the upcoming White House UFC event…

It’s a bit much, right? Like even for me. Pretty gauche, no?

Caged brutes pummeling one another bloody on the historic lawn of the Executive Mansion? All to celebrate President Trump’s birthday?

Come on, what are we doing here?

I might have been guilty of some runaway self-indulgence from time to time. I mean, I used to literally drink pearls and once declared war on Neptune.

But is America really going to sully its iconic symbol of democracy with Dana White’s CTE speedrun machine? Why can’t Trump keep his bloodsport / ego strokefest in the coliseum where it belongs? This whole ordeal is really giving mad kings a bad name.

And what’s next? Pete Hegseth’s hardcore backyard wrestling in the rose garden? How about a JD Vance dunk tank on the south lawn? Or Stephen Miller as a carnival geek biting heads off live chickens and guessing immigrants’ weights? I’m just saying, this is beneath the most sacred of America’s institutions.

I know this might seem surprising coming from me. And don’t get me wrong, I’m no stranger to bread and circuses. But considering that the price of bread is currently skyrocketing, Trump spending millions on a red-white-and-blue-drenched octagon is a real slap in the face to John Q. Plebeian.

Besides, there’s an appropriate time and a place for brutality and violence. It’s like I was saying to my trusted advisor/horse the other day: The orgies stay on the orgy ships, and the beheadings and burnings stay in the gladiator arenas, or the prisons, or the slave quarters, or sometimes on the orgy ships. But I don’t spill blood at home. For one, that’s where all my stuff is. And two, I like to keep business and pleasure separate. Mostly…

Of course, maybe I’m expecting too much from the modern world. As you can imagine, things were very different in Ancient Rome during my four-year rule. Allow me to set the scene:

I was a megalomaniac leader completely unmoored from reality. I declared war on the environment. I led many unsuccessful invasions and declared victory anyway. I built monuments to myself and insisted that my minions worship me as their god. I engaged in heinous sex acts and even lusted after my blood relatives. And finally, I routinely humiliated senators and political adversaries with childish nicknames like “Little” Marco Naevius, “Sleepy” Tiberius, and “Crooked” Cassius Chaerea.

Again, everything I’ve just described must be completely foreign to the United States in 2026.

Also, the majority of Roman citizens celebrated my eventual assassination. Not sure if there are any parallels there…

Regardless, the concept of restraint is timeless. While I am obviously 100 percent on board with the ruling class engaging in debauched carnality and unpunished murder (is that still a thing in 2026?), please, let’s try to keep it classy.

https://www.mcsweeneys.net/articles/i-am-emperor-caligula-and-even-i-think-the-white-house-ufc-event-is-a-bit-much

Posted by Knopf

https://www.mcsweeneys.net/articles/an-interview-with-dave-eggers-about-his-new-novel-contrapposto

KNOPF: This is a very funny, very moving book about the deepest kind of friendship. It unfolds over many decades, and the novel took shape over decades for you, too. When did you begin thinking about these characters?

DAVE EGGERS: I’ve been thinking about Cricket and Olympia for about twenty years, and was writing random passages about them much of that period. Sometimes a certain book takes an especially long time to gestate and make its correct form known, and this was one of those books.

Q: The book covers about 65 years in the lives of its two main characters, Cricket and Olympia. Their interactions take place all over the world, from Indiana to Thailand, from Philadelphia to Turkey and Paris. Did you always see this as a book with that kind of epic scope?

DE: Once I decided it would cover most of their lives, yes. I knew that having grown up in rural Indiana, they’d be restless and curious about the rest of the world, and I really came to love tossing them all over the globe. Each section of the book starts in a very different place in their lives, physically and mentally, and the reader’s left to fill in the gaps.

Q: Which becomes surprisingly easy, given how long we’ve known them. The novel starts when they’re 8 and 9. Cricket is a quiet kid who loves to draw. What does he see in Olympia?

DE: She’s obviously far more worldly and erudite and quick on her feet, even at age nine. Some kids are. There are just some humans that develop exponentially faster than others. Olympia is that way—just intellectually on fire from minute one, along with being this beautiful human, too, with golden eyes. Cricket is a talented draftsman, but Olympia’s mind works at about ten times the pace of his.

Q: And she has ambitions for him.

DE: Without her, his ambitions might be pretty modest. He doesn’t ever know what to do with anything he creates. But from the start, she is his champion. She wants to start movements, change the face of the art world, on and on. He just wants to draw.

Q: You were a young draftsman yourself, going to art schools and such. Did you have such a champion? An Olympia?

DE: No, nothing like this. Olympia was created out of whole cloth. I wanted to conjure someone who would drag Cricket out of a studio and into the world. She was huge fun to write because while she’s brilliant and loyal, she’s a bit mercurial, too. You know she’ll re-enter Cricket’s life periodically, but you’re never really sure what angle she’ll be coming from.

Q: She’s very comfortable with the business of art, eventually becoming a gallerist and curator. Cricket is not so adept, and struggles with the commerce aspect of it.

DE: I think we’ve all known people like this—they have great talent but are stubborn about even the smallest compromises, and they loathe the business side of the artist’s life. Cricket can’t really manage it. He’s a bit of a classicist at a time when trends and theories were very important to observe and address.

Q: Contrapposto is a pose in figure drawing, which is something we see Cricket and Olympia take part in again and again over the course of the book. Can you say more about the long tradition of learning to draw the body—the rigor of it, the intimacy—and all of what that means in the context of the book?

DE: When you see that trope of an artist holding their thumb out and squinting, that’s the artist “measuring” the proportions of a figure. It’s a real thing! You look at the model, stick your arm out straight, and you cover their head with your thumb. That thumb-height becomes your unit of measure. Then you count how many heads the model’s total height is, how many heads the width of their shoulders are, on and on. By comparing all of these dimensions against each other, you can arrive at perfect accuracy (if you’re seeking that, of course). I’m convinced most people can be taught these techniques, too; it’s the same process that’s been observed for hundreds of years. The rigor of classical drawing was revelatory to me, and I wanted to convey that to a reader, too—the fact classical art education was much like a classical musical education, in that it was based on hard skills, hundreds of hours of practice, and a certain humility, too. But it is imminently learnable, and in an exhilarating way, it teaches any student how to see.

Q: In college they have a teacher, Marcus Carpenter, who is a bit of rebel in that he’s a classicist at a time when that’s not in vogue. He doesn’t kowtow to the theories of the day, and he’s ostracized for it.

DE: There are such people, always, thank god. In Carpenter, Cricket finds a mentor who also appreciates the intrinsic beauty of the art he loves, as opposed to art that rides certain temporary fashions. More than anything, Carpenter takes all the competitiveness out of what’s often present in art schools—a very strange misery that comes from students pitted against each other. But there is a way, a better way, to bring up young artists together.

Q: Cricket and Olympia know each other so well that they bicker with total, hilarious abandon, but they also fight fiercely for each other. Were you always sure about their path together?

A: I’ve had the same friends since grade school, so with these ancient friendships, you can speak candidly to each other, and pretension doesn’t get you far. But there’s an element of mild resistance, too, embedded in these old friendships. Cricket and Olympia want to reinvent themselves over their lives, but they also know they can’t pull one over on someone who’s known them since they were eight. At that point, you know each other on a molecular level. So you fight for that person as you would fight to keep a limb of your own body.

Q: In a time when AI relationships have suddenly left the realm of sci-fi and are seemingly both common and legitimate, this novel argues for the irreplaceable connection that can occur between two humans, in either romance or friendship. Do you think Cricket and Olympia share something rare in their relationship?

DE: I don’t know that it’s rare, but I did want to show a complex friendship over time. For millions of people, there are times when you’re in love, then you’re friends, and maybe love happens again… The line for Cricket and Olympia is blurry, which I think happens with so many people who don’t get married but who provide a certain familiar comfort to each other. Together they have a kind of perfect imbalance, which is really about as good as we can do.

Contrapposto is out June 9, but is available for preorder now.

https://www.mcsweeneys.net/articles/an-interview-with-dave-eggers-about-his-new-novel-contrapposto