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After a suspension, Williams is reinstated in the anchor chair at MSNBC—where he later criticizes the Trump team for spreading fake news.

Sharyl Attkisson • The Smear: How Shady Political Operatives and Fake News Control What You See, What You Think, and How You Vote

While this shift has lowered many cultural barriers to entry, since anyone can make their work public online, it has also resulted in a kind of tyranny of real-time data.

Kyle Chayka • Filterworld

Writers must write and publish regularly to maintain a paid subscriber base, and that work can be exhausting.

Taylor Lorenz • Journalists will learn influencing isn’t easy

To offer another example: Isabel Hogben, a 14-year-old girl in Rhode Island, wrote an essay in The Free Press that demonstrated how American parents are focusing on the wrong threats: I was ten years old when I watched porn for the first time. I found myself on Pornhub, which I stumbled across by accident and returned to out of curiosity. The websi

Jonathan Haidt • The Anxious Generation: How the Great Rewiring of Childhood Is Causing an Epidemic of Mental Illness

What this means is that web users end up interacting and spending most of their time on the visible, predatory commercial web, while the very long tail of smaller, amateur websites remains hidden in the noise.

Parimal Satyal • Rediscovering the Small Web

The End of Our Extremely Online Era.

Tommy Dixon tommydixon.ca

Twitter.

Johann Hari • Stolen Focus: Why You Can't Pay Attention--and How to Think Deeply Again

The Browser is a daily newsletter from someone who reads 1,000 articles a day, choosing his five favorites and sending them out with a short summary. Oftentimes, these linked articles don’t have a paywall of their own at all — but subscribers of The Browser pay to have them sent in a curated list.

gabygoldberg.medium.com • Curators Are the New Creators. The Business Model of Good Taste | by Gaby Goldberg | Medium

The turn, in art, from the reparative to a demand for repair, treats art less as “a ‘third thing’ between people whose meaning ‘is owned by no one, but which subsists between [artist and spectator]’” and more as something whose meaning and function can be named and adjudicated—something that can, in fact, be moved out of the category of art, and in