June 27, 2026

TEAM MENSCH:

Camus and Columbo? The Unlikely Link Between European Existentialism and American Detective TV Series: The television series Columbo and Camus’ novel ‘A Happy Death’ were directly inspired by Dostoevsky’s classic novel of existential guilt, ‘Crime and Punishment.’ (Simon Lea, 6/25/26, The Collector)

The detective in Crime & Punishment is Porfiry Petrovich, the head of the Investigation Department. Just like Lieutenant Columbo, Petrovich never bullies, harasses, or even outright accuses his suspect. Rather, the psychologically astute detective seeks to confuse, provoke, and trap Raskolnikov into confessing. In addition, in Levison and Link’s television series, Colombo also refrains from showing animosity towards the men he knows to be murderers. Often, Colombo sets clever traps designed to force the murderer’s hand and draw out a confession. In Dostoevsky’s novel, Petrovich does so too. […]

Raskolnikov and Patrice both see their society’s laws and moral restrictions as obstructions to be overcome by superior people. For them, people are ultimately free to do what is best for them and have a responsibility to take control of their own lives. Both characters consider themselves to be stifled by a lack of funds and take it upon themselves to acquire what they need without concern for other people’s rules. The murderers in Columbo all think the same way.

THE COUCH IS THE CAUSE, NOT THE CURE:

Unusual low-impact workout alleviates depression symptoms in weeks (Bronwyn Thompson, June 27, 2026, Refractor)

An international team of researchers found that adults with moderate to severe depression who took part in twice-weekly monitored Nordic walking sessions experienced substantial reductions in depressive symptoms, with the most dramatic improvements occurring during the first half of the 10-week program.

By the end of Week 10, between 35% and 53.6% of walkers had achieved what would be clinically described as remission.

WHAT WAS EUROPE?:

Investors Pick America over Europe (Sven R. Larson, June 26, 2026, European Conservative)

One of the sources, the annual World Investment Report published by the UN trade agency UNCTAD, explained that in 2024,

FDI fell in more than half of EU countries, with sharp declines in Germany (-89%), Spain (-39%), Italy (-24%) and France (-20%).

We now have even newer data that corroborates the European freefall. The latest release of FDI statistics from the U.S. Bureau of Economic Analysis shows a decline in American investments in the German economy for five consecutive quarters. The U.S. FDI in Germany increased in the last quarter of 2025 and in the first quarter of this year, but from very low levels.

A similar trend applies to the European continent as a whole: in Q1 of 2026, American businesses invested more in Latin America and the Caribbean than in Europe.

CONTESTED BOUNDARIES:


The Anti-Fascist Fabulist: Curzio Malaparte’s prose blended fact inextricably with fiction, reality with dream. (Brian Patrick Eha, Spring 2026, City Journal)


Is there a right way to witness history? Asked to name famous examples from the last century, I should think first of George Orwell shouldering a rifle alongside ill-equipped Spanish partisans, James Agee reverently cataloging the meager contents of sharecroppers’ homes, and Robert Capa clambering ashore at Normandy with his camera alongside soldiers of the Fighting First, from which ordeal only 11 blurred snapshots survived, showing those about to die already ghostlike in his lens. Percipience is a must; and above other traits, we have tended to want our witnesses to history—especially the bad side of history—to be humane. What are we to make, then, of a war correspondent, a writer of real courage, who saw more clearly and comprehensively than almost anyone else, yet who was only intermittently interested in the lives (especially the inner lives) of others? A man who cultivated a brutal dictator as his father figure; who was attracted to blood, and perhaps more fascinated than appalled by many of the horrors he bore witness to; and whose putative masterpiece contains, in its author’s own words, “nothing but soldiers, corpses, dogs, sunflowers, horses, and clouds”? A chameleon who veered from fervent Fascism in 1920s Italy to avowed anti-Fascism after the war, remaining an incorrigible fabulist all the while: Could such a figure possibly be a valuable, not to say a reliable, witness? What are we to make of the mercurial, controversial, egotistical Curzio Malaparte?