The Top 5 Longreads of the Week

This week, we’re sharing stories from Lawrence Wright, April Wolfe, Mayukh Sen, Dan Jackson, and Ben Kuchera.
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This week, we’re sharing stories from Lawrence Wright, April Wolfe, Mayukh Sen, Dan Jackson, and Ben Kuchera.
Sign up to receive this list free every Friday in your inbox. Read more…

After dominating in a lip-sync battle last month that quickly became the stuff of legend, Brooklyn-based drag queen Sasha Velour took home the crown on the most-watched and highest-rated season in the history of RuPaul’s Drag Race.
In a heartfelt conversation with Joey Nolfi at Entertainment Weekly, Velour — an unapologetic intellectual — discusses the theory behind her unique sense of beauty and drama, and how she uses both to champion a historical, political form of drag.
VELOUR: I believe drag is a form of activism. It centers queer people and queer ways of being beautiful, especially in a political context where beauty is narrowly defined or what’s considered important or valuable is narrowly defined, and drag always offers a different option, or a variety of different options… I took for granted how much drag is still about play, and how playing and being light about your identity and yourself is actually a form of resistance, too.
EW: You said at Nightgowns earlier this year that every person who puts on drag is heroic. Why is it important to remind people of that?
VELOUR: There are lots of ways we can resist conservatism. It’s important queer people do that, especially, but also all of our allies because, in conservative systems, non-binary people, trans people, people of color, and even women are never going to be valued and safe. Drag resists conservatism in the most basic way possible, and also in the most effective way possible because it’s improper when it comes to looks, which is everything in conservative systems. Conservatism is all about surfaces and labels and presentation, and drag says, no, we refuse to follow any rules about that. It’s also fun and freeing, and that, in itself, is oppositional to cultures of fear and hate.
EW: Do you hope that’s what your Drag Race legacy will be?
VELOUR: People before have been eliminated for being over-thinkers, and I’ve succeeded because of it. I’m an over-thinker with a fighter’s spirit. I hope my legacy is that sometimes that level of thought is an asset, especially now in this political moment, because this political moment is very anti-intellectual, anti-information, and anti-historical.

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In an interview with The New York Times, Twitter co-founder Evan Williams admits to David Streitfeld that he thinks the internet is broken — and apologizes for the role Twitter played in the ascendency of Donald Trump.
President Trump has said he believes Twitter put him in the White House. Recently, Mr. Williams heard the claim for the first time. He mulled it over for a bit, sitting in his Medium office, which is noteworthy only for not having a desk.
“It’s a very bad thing, Twitter’s role in that,” he said finally. “If it’s true that he wouldn’t be president if it weren’t for Twitter, then yeah, I’m sorry.”
Trump’s campaign slogan may as well have been Extremity First, a strategy his supporters considered the conscious technique of a mastermind playing 4D chess with the media. What the internet is missing, Williams argues, is an ethical framework, a new business model that will introduce a market correction to what the internet perceives as user demand for extremism:
The trouble with the internet, Mr. Williams says, is that it rewards extremes. Say you’re driving down the road and see a car crash. Of course you look. Everyone looks. The internet interprets behavior like this to mean everyone is asking for car crashes, so it tries to supply them.
His goal is to break this pattern. “If I learn that every time I drive down this road I’m going to see more and more car crashes,” he says, “I’m going to take a different road.”
But a new road may have other problems. It may, for instance, be a dead end.
Mr. Williams isn’t the only one trying to fix this mess, of course. If he and others can’t find a path forward, if they can’t solve what he calls “the architecture of content creation, distribution and monetization on the internet,” there are unsettling implications for the future of news and ideas. Maybe it will be all car crashes, all the time. Twitter already feels like that.
Williams has been attempting to course-correct with Medium, a publishing platform conceived to intervene on this vicious cycle of misinterpreted rubbernecking with an ad-free, subscription-based business model. Medium’s successes have been tempered and debatable, while its missteps, like so many of the internet’s favorite car wrecks, have been more memorable. (Williams announced layoffs in a blog post before all the sunsetting employees were informed, shocking investors and publishing partners alike; when Williams introduced the $5 subscription model, Bryan Clark published an op-ed titled Ev Williams has lost his goddamn mind.)
While the need for an intervention is readily apparent, the question of how to make publishing sustainable — in spite of, or by somehow newly leveraging, the internet’s existing mosaic of incentives — continues to pose considerable challenges to the viability of new approaches to funding. As fellow Twitter cofounder Biz Stone has said in response to Williams’ statement that he wants to make publishing profitable: “Yeah, so does everyone else.”