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Will a Full-Body MRI Scan Help You or Hurt You? - The New Yorker (Full Access)   

Ryan Crownholm, a middle-aged Army veteran with luminous green eyes and a strong jawline, likes to describe himself as a health hacker. He has written on LinkedIn that, after founding and running several construction-related companies, he started to think of his own body as a data source. During the pandemic, he attached a continuous glucose monitor to his skin, bought an Oura ring to monitor his sleep, and signed up for a healthy meal-delivery service. “I started tracking each of my data points,” he wrote. “I outsourced my diet.” Every few months, a pricey concierge doctor—“kind of my longevity guy,” he told me—sends his blood for comprehensive testing. To assess his bone health and body-fat composition, Crownholm gets regular dual-energy X-ray absorptiometry, or DEXA, scans, which are normally recommended for older women at risk of osteoporosis. “Quantifying everything allowed me to be successful in business,” he told me. “I think it’s the same with health.”

One afternoon, while listening to a business podcast, Crownholm heard about a company called Prenuvo, which promises to help patients take control of their health. For twenty-five hundred dollars, Prenuvo will generate magnetic resonance imaging, or MRI, from your head to your ankles, and analyze the results for abnormalities. Images of Crownholm’s insides sounded like the perfect addition to his regimen; he signed up before Prenuvo had even opened a facility in Los Angeles, where he lives. “I felt great, but I wanted to know what might be lurking inside me,” he said. A few days after receiving the MRI, while he was in a meeting, his phone rang. The scan showed a roughly three-inch-long mass in his right kidney. “The doctor said, ‘We don’t know if it’s benign or malignant, but we better take it out,’ ” he told me. His kidney was cut out, and the pathology returned positive for renal-cell carcinoma, a treatable cancer that, in some cases, can be fatal. Crownholm credits the company with saving his life.

Crownholm is an unusual patient. He is wealthy enough to afford, and eager to use, a wide variety of optional care; he’s drawn to experimental technologies, whether or not doctors recommend them. He also had a dangerous tumor at a key stage: large enough to appear clearly in a full-body scan, but small enough to be asymptomatic and removable. In all of these ways, he was an ideal patient for Prenuvo. The company ultimately recruited him to appear in a promotional video, and he became a kind of MRI evangelist.

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The U.S. Is Reaping the Benefits of Low Unemployment - The New Yorker (Full Access)   

With the Labor Department having released its December jobs report last Friday, we now have a complete picture of 2023, and it’s a very encouraging one. During the course of the year, the U.S. economy created 2.7 million jobs, taking total non-farm employment to 157.2 million. That means there are about 4.9 million more people working than there were in February, 2020, when the spread of COVID-19 accelerated, and about 14.3 million more than there were when Joe Biden entered office in January, 2021.

Since it’s an election year, the figures will inevitably be parsed from a partisan perspective: In the first three years of the Biden Administration, more than twice as many jobs were created as during the equivalent period in the Trump Presidency. As I’ve pointed out before, the big stimulus package, which a Democratic-controlled Congress passed at the start of the Administration, undoubtedly helped to bolster demand and hasten the recovery from the pandemic in the labor market, which is now virtually complete. But the benefits of strong job creation and low unemployment go far beyond political bragging rights. Simply put, they greatly improve the welfare of countless Americans, including some of the neediest ones. In many ways, indeed, keeping the jobless rate low and the labor markets tight is the most effective and cost-efficient welfare policy there is.

For one thing, it insures that the overwhelming number of Americans who want a job, or need a job, do have one. In December, the unemployment rate was 3.7 per cent. It has now been under four per cent for almost two years straight, which hasn’t happened in more than half a century. If these low jobless rates were primarily a consequence of people dropping out of the workforce permanently during the pandemic, they wouldn’t be as impressive. That isn’t the case, though. A lot of people did drop out, particularly older workers, but many of them have returned, and their numbers have been supplemented by millions of new entrants: young people and immigrants. Since the start of the pandemic, the over-all labor force has risen by more than three million. Among prime-age workers (those between twenty-five and fifty-four), the labor-force-participation rate—the percentage of the civilian population that is working or looking for work—is now higher than it was before the pandemic, at 83.2 per cent.

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Milton Friedman, the Prizefighter - The New Yorker (Full Access)   

In 2002, three months after Milton Friedman turned ninety, a celebratory conference was convened at the school that had become synonymous with his ideas. Ben Bernanke, then a member of the Federal Reserve’s Board of Governors, delivered a talk at the University of Chicago on “Depression and Recovery.” It had been thirty-nine years since Friedman published “A Monetary History of the United States,” his blockbuster account of how the Fed’s missteps caused the Great Depression, and twenty-five years since he won the Nobel Prize. After Bernanke gave an encomium to Friedman’s long and storied career, he was moved to add a flourish, “abusing slightly my status as an official representative of the Federal Reserve.” “Regarding the Great Depression,” he told Friedman, “you’re right. We did it. We’re very sorry. But, thanks to you, we won’t do it again.”

It was an extraordinary statement from a leader of the Fed, which Friedman had spent his entire career critiquing. In Bernanke’s retelling, Friedman’s once outré argument, that the Fed should have aggressively expanded the money supply when people pulled money from banks in 1929, was now practically common sense. The hyperbolic praise from Bernanke, a future Fed chairman, epitomized Friedman’s stature as perhaps the most influential economist of the late twentieth century.

But Milton Friedman was never one for victory laps. He spent the final years of his life mostly complaining, in just about any forum that would have him. In a report published earlier that year, he lamented that the U.S. was a “nearly 40-percent enslaved state” because of outsized taxation. In 2004, he told Investor’s Business Daily that the extremely low interest rates of the new millennium were “fundamentally an indication of something wrong.” And, just a year before his death, in 2006, he bemoaned the rise of the euro (“a big source of problems, not a source of help”) and disparaged Social Security as a “Ponzi scheme.”

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The Horrifying and Humanistic Ending of “The Curse” - The New Yorker (Full Access)   

The finale of "The Curse," the oddest and most original show on television right now, opens with Asher and Whitney Siegel, the grin-and-bear-it married couple played by Nathan Fielder and Emma Stone, in the midst of a press push for their new HGTV reality series. Last we saw the Siegels, on the previous episode of "The Curse," they were wrapping up the filming of their show, "Fliplanthropy," which had put such a strain on their marriage that it seemed like they were on the fast track to divorce. Now, it's a few months later, and Whitney is pregnant. The couple's show, which is finally complete, has been renamed "Green Queen." We watch as Whitney and Asher, nervous and grinning, are live-cast into a taping of "Rachael Ray."

The Siegels, Ray explains to her audience, are "turning their home town upside down with a new approach to eco-living!" Whitney and Asher are real-estate developers, and "Green Queen" documents their attempts to build high-end, environmentally friendly "passive homes" in the struggling New Mexico town of Española. The houses have mirrored façades, seemingly meant to reflect Española's indigenous landscape—Whitney sees them as works of art, half complaining and half bragging that she has been accused of ripping off Doug Aitken. But the homes' energy-efficient plan is also supposed to minimize their owners' carbon footprint. As part of their project, Whitney and Asher, who are terrified of being seen as gentrifiers, commit to employing Española natives in a couple of new, bougie businesses they bring to a local strip mall. When a shoplifting problem develops at the Siegels' designer-denim store, Whitney instructs the salesgirl not to call the police, and ends up providing her own credit card to cover the thefts. ("It's a petty misdemeanor. It's hurting no one," Whitney says.) This plan, of course, gets immediately taken advantage of by the shop's clientele, who take as many pairs of jeans as they can carry, but Whitney tells herself she can take the hit. She might be white and rich, but she's no "Karen."

The Siegels' project resides in the fraught intersection of self-interest and social consciousness. Whitney, the daughter of slumlords, sees herself as a different breed of real-estate entrepreneur. She's building new homes from whose sale she might extract profit, yes, but, more important, she is building a new and better world, where the injustices wrought by various power structures—racial, ethnic, class-based, environmental—will be ameliorated. Asher, meanwhile, is a somewhat humorless penny-pincher, who attempts to hide his venal tendencies from his wife, whom he sees as "the most selfless person" he's ever met. (This is Fielder's first leading dramatic role, and his familiar stiffness is cut here with a touch of sliminess.) And yet the mask often slips, not just in Asher's case, but in Whitney's, too. "Española is mine!" she yells at her parents, when they attempt to advise her on what to do with the properties Whitney is developing—which, it turns out, they had originally picked up. (Stone, quite possibly the best actress of her generation, perfectly captures Whitney's laboriously if barely concealed petulance.) The tension between the Siegels' professed benevolent intentions and selfish inner selves is one of the show's through lines. Whitney and Asher want to be seen as good, but they also want to retain their power.

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