In January 1959, Art Copleston was escorted out of his college accounting class by three police officers. In a motel room, blinds drawn, he sat in front of a state senator and the legal counsel for the Florida Legislative Investigation Committee, nicknamed the “Johns Committee.” His crime? Being a suspected homosexual. And the government of Florida would use any tactic at their disposal—legal or not—to get Copleston to admit it.

One afternoon many years ago, James Rebanks met an old woman on a remote Norwegian island. She lived and worked alone on a tiny rocky outcrop, caring for wild Eider ducks and gathering their down. Hers was a centuries-old trade that had once made men and women rich but had long been in decline. Still, somehow, she seemed to be hanging on. Back at home, Rebanks couldn’t stop thinking about the woman on the rocks. She was fierce and otherworldly—and yet strangely familiar.

In 1945, the New Yorker commissioned star reporter Rebecca West to cover the London trial of William Joyce, who stood accused by the British government of aiding the Third Reich. Joyce was alleged to have hosted a radio program, Germany Calling, devoted to Nazi propaganda and calls for a British surrender. The legal case against Joyce (known as "Lord Haw-Haw" for his supposedly posh accent) proved to be tenuous and full of uncertainties.

Zero Sum brings to life the complex, vivid color of one of the greatest experiments in the history of global commerce. What have businesses learnt—or failed to learn—from this adventure, both about Russia and about dynamics between countries and companies in the face of relentless change?

Monsters are central to how we think about the human condition. Join award-winning historian of science Dr. Surekha Davies as she reveals how people have defined the human in relation to everything from apes to zombies, and how they invented race, gender, and nations along the way. With rich, evocative storytelling that braids together ancient gods and generative AI, Frankenstein's monster and E.T., Humans: A Monstrous History shows how monster-making is about control: it defines who gets to count as normal.