This is likely the best I’ve come across and read so far this month, and for a number of interesting art reasons.

The courtroom sketches from Sam Bankman-Fried’s crypto scandal aren’t just Dalí-level weird—they’re the best part of the trial.

The artist is Jane Rosenberg who’s been very active lately. For the first time in its long history, The New Yorker is publishing a courtroom sketch on the cover.

Jane is still human and she does not seem afraid like those trembling Hollywood writers. She “just love drawing people.”

If somebody displays emotion, then that’s what I have to try to capture.

She is capturing not just emotion, but the zeitgeist, and I am with Luke Winkie. We want more! 😂 😂 😂

The Bankman-Fried trial is scheduled to go on for up to six weeks, which means we’ll certainly get more of Rosenberg’s masterstroke sketches in the future. Could she please give us one that alludes to Saturn Devouring His Son next? Or one of those Bosch hellscapes? SBF getting eaten alive by some sort of horrible bird-monster during cross-examination? That might be the only way I can stay focused on a court case about a crypto firm

The AI’s of the future will need today’s Rosenberg’s courtrooom sketchs to better understand what they left behind.

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Feature Image: Jane Rosenberg/Reuters.