cash

WASHINGTON — Democrats are struggling to come up for air after outside groups flooded their first round of midterm primaries with campaign cash.

As the Democratic Party fights to regain control of Congress, organizations affiliated with the American Israel Public Affairs Committee, cryptocurrency and artificial intelligence have dominated the airwaves, sometimes leaving candidates on the sidelines of their own campaigns.

Democratic pollster Zac McCrary said the primaries have “become proxy wars, and the candidates are almost afterthoughts in larger skirmishes.”

Now the Democratic National Committee is advancing a resolution at its New Orleans spring meeting to condemn the surge of spending that has scrambled its primaries and exacerbated tensions within the party.

Candidates who lost have pointed their fingers at special interests, blaming them for derailing their campaigns. Others who are still in the running are courting voters by denouncing deep-pocketed outside groups. Even those who have benefited from the spending have expressed concern.

“It’s definitely a brave new world,” McCrary said.

“We’re not talking about doubling of campaign expenditures,” he added. “We’re talking about 10 times or 20 times more.”

Dan Sena, a former executive director at the Democratic Congressional Campaign Committee, said party organizations are no longer the ones with the clout to push favored candidates.

“All that’s been completely smashed now,” Sena said. Even if Democrats regain control of the U.S. House, he warned that outside spending could damage the party in the long run.

Referring to House Minority Leader Hakeem Jeffries, he said, “You’re going to hand Jeffries a caucus that is divided.”

Democrats bear the brunt of big spending

So far this cycle, outside money in U.S. House races has largely targeted districts particularly friendly to Democrats, meaning the primaries will likely determine who will win the general election in November. After a record number of House members retired this year, many of those seats opened up for the first time in years, drawing dozens of Democratic hopefuls.

In Illinois, for example, there was more than $125 million in outside spending across five open Democratic primaries. In all but one of those congressional races, the outside spending exceeded candidate spending.

While it’s still early in the calendar, there are indicators that many more races could see big spending. Almost 40 seats have already seen more than $1 million in outside spending, according to Federal Election Commission filings.

In Illinois, the top three spenders in U.S. House races were groups affiliated with American Israel Public Affairs Committee, or AIPAC, according to AdImpact, which tracks ad buys in political races, followed by the cryptocurrency-affiliated Fairshake.

AIPAC was founded to support strong ties between the U.S. and Israel, a particularly controversial issue as Democratic hostility toward Israel rises over the war in Gaza. Some Democratic National Committee, or DNC, members wanted to call out AIPAC’s role in primaries, but the final resolution did not.

“We had various resolutions that focused on different industries and groups, and instead of going one-by-one, we passed a blanket repudiation,” DNC Chair Ken Martin said in a statement.

Campaign spending has divided Democrats

The latest DNC meeting marks another chapter in longstanding disputes between progressives and the party establishment.

Progressives want the party to adopt official language that all Democratic presidential contenders oppose money from dark-money groups, or super PACs that aren’t required to disclose their donors.

“It’s necessary that we actually have the party do something on this issue, not just say something,” said Larry Cohen, co-chair of Our Revolution, a progressive group founded by independent Sen. Bernie Sanders of Vermont, who caucuses with Democrats.

The resolution being advanced at the DNC meeting in New Orleans is viewed by progressives as a step toward that goal. However, some Democrats warn against weakening their candidates when facing a Republican Party that’s flush with cash.

“Provided that we don’t handcuff ourselves in the general elections — because if the Republicans are going to use dark money in general elections, we should be using our money in general elections, too — if you provide an even playing field, I think then that’s fine,” said Sen. Ruben Gallego, an Arizona Democrat. “But we just can’t be handcuffing ourselves in the general to lose races.”

Any DNC resolutions would not stop outside groups from surging funds into primary contests or general elections. But some Democrats believe the issue is core to the party’s values.

“We should eliminate any super PAC in a Democratic primary. And I think every presidential candidate in 2028 should pledge that they will not have any super PAC spending in a Democratic primary,” said Rep. Ro Khanna, a progressive and possible Democratic presidential contender who co-chaired Sanders’ 2020 presidential campaign.

“That should be a litmus test,” Khanna argued. “If you’re not willing to take that pledge, then you’re part of the problem.”

Askarinam, Brown and Sweedler write for the Associated Press. Brown reported from New York.

Residents in Indian-administered Kashmir are donating their gold possessions and cash to support Iranians impacted by the US-Israeli war. Iran’s embassy in India has acknowledged the gesture, saying their kindness ‘will never be forgotten’.

Emma Chawner, a legendary contestant on The X Factor, shared her impressive 16 stone weight loss journey amid the tragic loss of both her mum and dad as well as her dog

One of The X Factor’s most unforgettable contestants left fans stunned after revealing an astonishing 16-stone weight loss. Emma Chawner first captured public attention aged just 17 when she and her family had a memorable encounter with judges Simon Cowell, Dannii Minogue, Sharon Osbourne, and Louis Walsh after being turned away from the competition in 2007.

Now in her late 30s, Emma has achieved a stunning transformation, emphasising that her dramatic weight loss was accomplished entirely without surgery, as she revealed during a 2019 appearance on ITV’s Lorraine. Taking to Instagram at the time, Emma also shared striking before-and-after photographs, captioning one: “5years down and 16st 4 lost im still losing it but very slow now.”

Admirers were swift to praise her achievement, with messages including: “Fantastic, you look amazing,” and “You look so beautiful and pretty! Please remember weight can not be defined by age, weight, or gender. Your beauty has always shined through! I’m glad to see you! Bless you love!”

Speaking candidly to Lorraine, who had previously extended support to help her family tackle their weight struggles, Emma revealed that her motivation stemmed from the heartbreaking loss of her beloved pet dog and the emotional turmoil surrounding her parents’ separation. Tragically, Emma’s mother died aged 73 in January 2024, with her father passing away in December that same year.

Sadly, Emma was forced to start a GoFundMe in an attempt to raise £2,200 for her dad’s funeral, but only appeared to raise £820 through the website. At the time, she posted her appeal, saying: “I would appreciate any help towards he funeral because at time it’s really hard for me and to pay for it and I really want my dad to have a good send off any amount of money would be greatly appreciated.” Heartbreakingly, she continued: “I don’t have any family left people that know me I hate asking for help put this time i have no choice.”

In a candid conversation with Lorraine, Emma emphasised her weight loss resolve, stating: “No one’s pushed me to do it, I’ve done it all myself. I was always out of breath and diabetic.”

She refuted suggestions from doubters that she had undergone weight loss surgery and voiced her intention to shed a few more pounds, affirming: “I’m happy with how I am and it’s not far to go.”

Emma initially took a shot at fame on The X Factor in 2007 but was met with a firm rejection. Undeterred, she returned to the stage in 2009 alongside her sister Samantha, who married in XXX.

However, Emma faced another setback as she was handed four no’s from the judges, with Cheryl observing, “Emma, I have to say, you’re definitely more confident when you’ve got your sister with you. But nothing else has really improved unfortunately.”

With her singing aspirations momentarily put on hold, Emma participated in Lorraine Kelly’s Big Fat Challenge, a weight loss initiative. She continued her slimming journey after the show, attributing her success to a 30-day detox and healthy habits such as eliminating snacks and staying hydrated.

Prior to joining Lorraine’s programme and seeking advice from diet experts, Emma believed her size was due to genetics, asserting, “It’s not because of what I’ve eaten. It’s because of the genes in my family. Mum’s big, dad’s big, my sister’s big. No-one’s thin in our house.” She had previously been forced to live in a car after her family was reportedly booted out of their home.

There are few greater muses than one’s own childhood. In recent months, this idea has taken visual form across fashion runways, with brands from Chanel to Acne Studios showcasing childlike sketches, often referred to as ‘naive design’. The aesthetic favors deliberate roughness and mistakes over a sterile, polished sheen.

Book covers are the latest medium to embrace the trend. Scribbles, doodles, crayon marks and stickers — evoking Lisa Frank and anime cartoons — have begun appearing on prominent Gen Z contemporary fiction covers. The more childish and unrefined, the better.

The covers, which often accompany literary fiction written by women, signal a particular emotional register of naive, sticky chaos that youth promises. The visual language recalls a simpler time — a reclamation of an innocence lost. For millennials and Gen Z readers who worship collectibles like Labubus, friendship bracelets and butterfly hair clips, it’s natural that art direction would follow suit — sometimes with an ironic twist. Often, the design’s playfulness obscures the protagonist’s malaise.

The book cover trend, imbued with nostalgia for childhood, promises fiction that grapples with the pangs of adulthood in an age of precarity. In her Substack, cultural critic and novelist Natasha Stagg commented on the trend, noting, “Reverse-image searching these images turn up books on early childhood education, dealing with anxiety or migraines, or teaching a kid to color outside the lines as an artistic parent.” The book trend cover suggests collective angst about adulthood, highlighted by a cultural fixation on “girlhood” that sparked a spate of online think pieces in recent years.

It’s fitting, then, that the aesthetic has been adopted by Gen Z fiction writers like Honor Levy, whose paperback edition of “My First Book” includes girlish heart stickers on a hot pink background. The Y2K aesthetic elicits a young girl’s diary. Meanwhile, the 2025 novel “Unfit” by Ariana Harwicz, about a mother losing her children in a custody battle, uses erratic crayon scribbles on its cover. In the fall, McSweeney’s Quarterly Concern was contained in a binder with a Lisa Frank-style aquatic wonderland on the cover. This month, Cazzie David released a book of essays about early adulthood titled “Delusions: Of Grandeur, of Romance, of Process” with a cover resembling a child’s birthday cake.

(New Directions Publishing, Penguin Books)

Writer and culture critic Drew Zeiba noted the trend in his June 2025 Substack post. “I wonder if it represents a fed-up-ness with prior or concurrent trends in book design,” writes Zeiba over email. “A move away from the layered, the blobby, the clean — to something with more illusion of or allusion to an id.”

“Not for nothing, I assume adult coloring books sell better than literary fiction,” says Zeiba. “I’m struck by that in a way the crayon or marker drawing is provisional — there’s no final form to it.”

This January, novelist and Forever Magazine co-founder Madeline Cash released her highly anticipated debut novel, “Lost Lambs.” The story follows a family unraveling amid open marriages, conspiracy and emotional turmoil. Designed by Na Song, the cover features drooping blue crayon text and a small illustration of a girl.

The cover was heavily influenced by Henry Darger’s Vivian Girls. “I was attached to this Henry Darger painting when I was writing the book. I felt like that was a really accurate visual representation of little girls running away from utter chaos,” says Cash.

“The childish scribbling handwriting is also a red herring for some of the more serious and sinister themes in the book, “ says Cash.

(St. Martin’s Publishing Group, Farrar, Straus & Giroux)

“Having read Cash’s, I’m struck by the fact that the children in the book — and children are central to the book — are really insightful and transformative, and ‘lost lambs’ actually refers in the text to a specific group of adults,” adds Zeiba.

A similar artistic logic underpins Sophie Kemp’s breakout 2025 novel, “Paradise Logic,” which gained attention for its unsettling cover. The book cover is an existing painting by Brooklyn-based artist Naruki Kukita, selected by veteran art director Martha Kennedy with Kemp’s input. Kennedy had come across “Virtual Temptation in Eden” in a weekly art newsletter called “It’s Nice That.” The image invokes a children’s coloring book with darker undertones, blending various cartoon and drawing styles to depict Adam and Eve in paradise. A cartoon snake lurks behind them.

The design mirrors the memorable prose. “This novel showcased one of the most original voices I’ve ever read. I would describe it as a psychosexual fever dream,” says Kennedy. “I recall the editor calling it ‘the first true Gen Z novel.’”

Kemp recalls sending a lengthy email about the book cover inspiration. “I want something super maximalist. I want it to be a preexisting image. And I wanted to do something that is shocking or crazy,” says Kemp. Kennedy presented Kukita’s painting, and it was love at first sight for Kemp.

(New Directions Publishing, Simon & Schuster)

“Kukita’s combination of finely crafted painterly portraiture and flat graphic anime (often in very intense sexual combination) seemed like a perfect match for the tone of this novel,” says Martha Kennedy, who served as the art director at Simon & Schuster.

Then, enter Comic Sans typeface — a perfect dash of irony. “Let’s use a typeface that feels kind of wrong,” Kemp recalls prescribing. “I used Comic Sans for the first time in my 35-year career for the rest of the type. I felt that was some sort of weird pinnacle in itself,” Kennedy explains over email.

Kemp sees a thematic alignment between her and Cash’s book designs. “Mine and Madeline’s books are about naive female characters,” Kemp says. “It makes a lot of sense with the protagonist of my novel, who’s an extremely naive young woman, for the book cover to match that tone that I created.”

While working in marketing, Cash recalls another book cover trend she calls “book blob.” The blob was earth-toned and splashed bestselling covers for years. “With any kind of viral aesthetic: one of those books did well, so they engineered every cover to emulate that, because people were drawn to them,” says Cash. “It looks like all the content was the same and ubiquitous. It is a disservice to a lot of those books.”

“I really wanted it to stand out,” says Cash about her own cover.

Connors is a writer living in Los Angeles. She hosts the literary reading event Unreliable Narrators at Nico’s Wines in Atwater Village every month.