When Leslie Buck was discovered dead in her home in 2002, Mystic, Connecticut, went into shock. What had happened to the grade school teacher and who had wanted her to die? For journalist Brenna Ehrlich, this one was personal; Buck had been her teacher in grade one. In her latest for Rolling Stone, Ehrlich returns to Mystic to learn more about who Leslie Buck was and why she was murdered.
And Anna Greene, my second-grade teacher, told me about the poems she found in Leslie’s desk after she died — that she read at the funeral. There’s one about the kids who are different, “who don’t fit,” who “dance to a different drum.” For some reason, that hit me harder than police reports or autopsies. More than the horrors that true-crime often focuses on. I still can’t read it without crying. Maybe because I definitely was one of those kids, or maybe it’s just because it shows that she truly saw her students — all of them. Or maybe it’s a much-needed reminder that Leslie Buck isn’t a story, a case to be solved. She was a person. And she deserves to be remembered.
The genocide in Gaza has created some 60 tons of rubble. In doing so, it has released asbestos, lead, and other toxic materials, guaranteeing “an epidemic of cancer, lung disease, and brain damage,” Helen Epstein writes, “[that] could come to rival in lethality the war’s bombs and bullets.” Research is starting to make visible the scale of dangerous fallout, but there are limitations:
To confirm [scientist Yaakov] Garb’s estimates, it would be necessary to test soil samples from the areas he has identified as particularly likely to be contaminated. But the Israeli government seems to be obstructing efforts to carry out such tests, let alone assist the current and future victims of this environmental catastrophe. Aid workers and others entering Gaza attend an official briefing where they are informed that it is forbidden to leave the enclave with even small amounts of soil or sand. Once in the Strip, any scientists surreptitiously collecting research material risk being spotted by overhead surveillance drones. At departure checkpoints every piece of luggage is emptied onto a conveyor belt, and border guards carefully inspect each item. Several people told me they knew researchers whose soil samples had been confiscated. Palestinian researchers in Gaza have no capacity to conduct such experiments on their own, since the enclave lost all twelve of its universities and scores of scientists in the bombing. Without the Israeli government’s cooperation, only remote assessment and modeling like Garb’s can even begin to determine the scale and location of toxic contamination in which Gaza’s population now lives.
Daniel left school five years ago and still lives with his parents—pretty normal in a country where around a third of young British men haven’t moved out. What is different about Daniel is his identification as “hikikomori”—literally “pulled inward”—a form of extreme social isolation. Since leaving school, he has left his family home “maybe once a month.” Research into hikikomori is limited, though some links with social anxiety and autism have been drawn. In this piece, Eve Livingston explores what day-to-day life is actually like for the families living with this phenomenon, doggedly seeking access to a world built to avoid in‑person encounters.
Dip your toe into the world of hikikomori, and you’ll find that attitudes vary widely, even among the self-identified. Some, like Daniel, display a level of sensitivity and sometimes defensiveness about their lifestyle, while others are more open about a sense of sadness and sometimes hopelessness they felt towards their circumstances.
“I am [a hikikomori]… it sucks and I hate my life,” reads one such comment on Reddit. “Every single attempt at recovery has ended up in an even deeper relapse and its [sic] so painfully boring and lonely… I fantasise about being free all the time but I know I’m probably just going to die this way.”
I’d be lying if I said I understand everything Michael Levin believes. But I’m also not alone; sometimes his own colleagues can’t even follow his arguments. Elizabeth Weil’s profile of the renegade (and genius) biologist bridges that gap, sketching out Levin’s research and claims in a way that’s just grokkable enough to blow your mind. I mean this as a true compliment: When’s the last time we had a genuine mad scientist on our hands?
Critics accuse Levin of all kinds of teleological crimes — making unfalsifiable claims, using words in ways that render those words meaningless. Levin is unfazed. In his talks, he tries to disarm his detractors by preempting the accusation that he’s nuts: “I have some unusual things to say and then I have some crazy things to say”; “So this is a kind of crazy claim I’m making.” His true retort is his wet lab. There, at the bench, he’s working to prove his metaphysics by running old-school (in a way) biological experiments. He studies flatworms with two heads. Frogs with eyes on their stomachs. Little round creatures called xenobots, synthesized from frog skin cells. They swim like tiny Pac-Men. They do not exist in nature.
“The only thing that ever settles arguments is technology,” Levin tells me, a line he borrowed from biophysicist Chris Fields. “People have been saying for thousands of years what they think” about minds, consciousness, souls, energy fields. “What I can contribute is ways to test some of those things.”
Linni Kral has always been preoccupied with her bowels, but as a food writer, it hasn’t usually been that end she’s focused on in her writing. Now, as the internet explodes with “scat chat,” Kral is ready to investigate whether obsessing over our bowel movements has any merit. The result is a giggle fest—though you’ll need the stomach for some serious poo talk.
One day, it seems, the internet woke up and chose BMs, and suddenly the hottest girl you know is posting about scat. Now you have to go out of your way to not eat fiber—prebiotic supplements are in our soda, our candy bars, our cold foam. The beverage case is dominated by the likes of Olipop and Poppi and Culture Pop, all offering varying degrees of digestive assistance. The other day, I saw a smoothie blend in the freezer aisle called “Fiber Supremacy,” and earlier this year, Frito-Lay launched a fiber-packed version of both SunChips and Smartfood popcorn. Kraft is making a purgative macaroni and cheese that boasts six grams of fiber per serving (or 15 grams if you eat the whole box—which is, let’s be honest, how most people consume Easy Mac). Outside the retail space, home cooks are finding ways to fit chia and flax into not just their breakfasts but their meat loaf. They’re pureeing beans into sauces and veggies into puddings and cakes. Literal doctors are posting their #fibermaxxing menus to TikTok. And while this may sound like just another wave on the ocean of content we surf daily, it gets…weirder.
Frustrated that law enforcement and government officials are unable to help them, Venice property owners have called upon a private company, staffed by former gang members, to remove encampments in their neighborhood. For L.A. Material, Hayes Davenport talked to one of the company’s owners—lifelong Venice resident Bobby Luna—as well as dozens of locals, from homeowners to unhoused folks, about the company’s presence in the community. Homeowners are satisfied with Ghost Town’s service, while some unhoused people who have been forced to relocate report harassment and physical force from its employees. “Ghost Town has stepped in to address a decades-old problem with an unconventional approach,” writes Davenport. “Are they an inspiring story of neighborhood reclamation, filling the void left by an insufficient, hobbled government response? Or mercenary enforcers, contracted to speed along the neighborhood’s gentrification?”
One homeowner — who said she has paid between $100 and $300 a month for Ghost Town’s services, with the cost going down as more neighbors became clients — told me she signed up after multiple people trespassed on her property while she was pregnant, triggering their security system. “Police didn’t come for an hour and a half,” she said. “Ghost Town shows up in five minutes.”
“They’re the reason we still live here,” she added.
But Andrew’s contention that “most people in the homeless community have had some kind of negative interaction with Ghost Town” had also been supported by the people I talked to on the street.
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Hannah Engler Harvey | Longreads | July 30, 2026 | 3,927 words (14 minutes)
In the long, slow days of August, Christmas comes. The halls are decked with vintage glass holiday towns in two colorways, Pastel and Traditional. They are lit by a wall of electric candles whose realistic dancing flames were designed by Disney Imagineers. (Inventory is getting low in Beige, but consider the White as an alternative; Plum could pull double duty for Halloween.) Smiling people wear sweaters embellished with stars and snowflakes. They moan with pleasure as they sample handmade caramel marshmallows and defrosted barbecue ribs and special-edition three-and-a-half pound cheesecakes, on sale for $56.00 or three easy payments of $18.67. (But move fast: There are fewer than 750 left in Strawberry.)
It’s nice here, safe as a daydream. In the pretend kitchen, with the make-believe food and the fireless flames, there is something for everyone.
The first thing to know about QVC, the most important thing, is that it is always on.
My best friend Lizzie and I are couch potatoes, dedicated ones; our friendship set, like a custard, in front of the television. At first it was TheReal Housewives and 30 Rock, then Difficult People and Dancing with the Stars. When we first moved in together, when we were both 24, we resolved, initially, to shake ourselves out of this instinct. I had just gone through my first adult breakup. She had finally had enough of her roommates and of Brooklyn. It was early 2020, the year of broken leases.
We found a place in a neighborhood we both loved, and ignored the fact that the door of the bathroom could not open past the toilet, and that Lizzie had to climb over her bed to get to her closet. It didn’t matter that it was small, we reasoned. We would never be there.
Two weeks after we moved in, the city shut down, and we started paying for cable.
What it boiled down to was this: If you watch enough television, you eventually get sick of deciding what to watch. The beauty of TV, for the true couch potato, is when it comes and finds you: the sick-day marathons of Intervention, the late-night reruns of Frasier and The Nanny, the reliable Sunday-afternoon showing of the movie Backdraft. This is what Lizzie and I had loved about television growing up, and this is what the prestige-TV era had taken from us. We were sick of ordering à la carte. We wanted a buffet.
So, there on our pink Drew-Barrymore-for-Walmart sectional, balancing takeout containers on our laps, we watched.
We watched old episodes of Match Game and Three’s Company; we watched Live with Kelly and Ryan and the movie channels and sports, if we were desperate.
But there were times—the true couch potato always finds times—when the only thing to watch was QVC.
QVC (which stands for Quality, Value, Convenience) was founded in 1986 by the businessman Joseph Segel and still airs 24 hours of programming a day, approximately 20 hours of which are live broadcasts. The broadcasts are simple in structure. A host demonstrates products in an unscripted, conversational way, speaking directly to the audience from a set that looks like a living room. Sometimes, the host banters with a cohost. Along the way, they are joined by a rotating cast of brand representatives who are there to assist in selling their wares.
And this tactic has worked, at least on some tranche of the population. For the 40 years it has been around, QVC’s core demographic—women over 50—has held steady, and the channel has a remarkable ability to inspire loyalty. According to a 2021 article in Main Line Today, the newspaper local to West Chester, Pennsylvania, where QVC is headquartered, “Ninety percent of QVC customers are of the repeat variety.”
The personalities are the point. In a 2006 article in Studies in Popular Culture, Jennifer Courtney and Gabriel Wettach wrote that QVC’s innovation, as well as its biggest challenge, was to make its advertisements seem less like corporate directives and more like recommendations from friends or peers. “To create and maintain credibility with the audience,” they write, “QVC hosts must emphasize roles that convey authenticity, such as mother, beauty expert, or bargain hunter. . . . viewers must be able to trust or ‘relate to’ the host; invoking trusted personas creates a welcoming and reassuring environment.”
We are all living inside the world that QVC made, the commingling of identity and acquisition.
Twenty years later, this insight about the power of QVC hosts could be applied to far greater swaths of the consumer economy. Today’s Instagram influencers talk about how and when they use certain products in the same relatable way the hosts on QVC do. Shopping is integrated into most online and IRL experiences. We are asked to place things in context, imagine the lives we would have and the people we would be if we could only own the right items.
When I talk about QVC, people are baffled by my interest in it. To them, it seems like a relic, something whose relevance is shriveling up. On the contrary: We are all living inside the world that QVC made, the commingling of identity and acquisition. We occupy our homes like amnesiacs, trying to figure out who we are by looking around at what we own.
For me, QVC applies an unexpected salve to the wound it caused. I am too young for bladder-leak underwear or anti-crepe elbow cream; I have no lawn for ornaments or freezer space for a four-pound bag of pot stickers. Like most people my age, conditioned to view themselves from a distance, I have spent a lot of time curating my life: my physical space, my wardrobe, my media diet. All my algorithms are tuned to perfection. In other words, I spend so much time within a prison of my own preferences that it has become a relief to be offered things I would never want.
To talk about what QVC is does very little to illustrate the experience of watching QVC, which is altogether more difficult to pin down. The sets are vividly lit, the people arranged like pints of ice cream in an illuminated freezer. For as long as I’ve been watching, the main set has been dressed with a bright yellow couch, glossy gray-brown laminate floors, and faux windows that look out onto a digital lawn. The artifice of the environment is in charming tension with flickers of helpless realism: a rep from Roberta’s Unique Gardens who struggles to lift a planter full of SunPatiens; a host whose Barefoot Dreams cardigan keeps rubbing against her mic. There is a hallucinatory quality to it: The brightness is the same at 8 in the morning and 11 at night. There seems to be no rhyme or reason to when they present certain products, whether they’re selling perennial plants or seasonal decorations or Beekman 1802’s goat milk skin care. (The reps from Beekman often bring a flock of real baby goats with them.) But there is also a groundedness, a kind of ruthless maternal practicality: Faroe Islands salmon is full of Omega-3s, which reduce triglycerides, crucial as we approach middle age. Elastic-waist pants are a godsend if you fluctuate sizes.
The presentations follow predictable, elliptical patterns; they are designed to be half-watched, for viewers who are flipping channels, or maybe falling asleep. The hosts repeat themselves—they must—revisiting colors, sizes, quantities, and prices every couple of minutes, the repetition contained within the steady stream of good-natured patter. The consistency of this patter is remarkable; to be able to just keep talking, no matter how boring the topic or useless the product, can be downright impressive to watch. A host might say all of these things and more during the course of an hour-long presentation on espadrille sandals: The weather is getting warmer, those outdoor barbecues are around the corner, days are getting longer, patio dining is here, summer is showing its face, it’s iced coffee season, it’s frozen margarita season, it’s baseball season, the weather is warming up. Sometimes it devolves into silliness. “Belts are really trending right now,” said designer Susan Graver on QVC3 the other morning. “Oh, I love to put one on.”
At first, we entered this world like anthropologists, observing the bizarre habits of the native species. But we soon became attached to its familiar rhythms. Lizzie developed a habit of turning it on in the morning and keeping it on in the background through a day of working from home or cleaning the house, and this routine lingered long after the acute phase of the pandemic began to wane. Certain things about our lives had changed for good. Never again would we go into the office five days a week, and never again would a day pass without the ambient, almost meditative thrum of QVC—not exactly white noise, but maybe ecru, or eggshell.
In other homes, in other cities, we learned, other women were doing the same thing. Longtime QVC customer Arlyn David—a 62-year-old resident of Bala Cynwyd, Pennsylvania—told Main Line Today in 2021: “If I’m home, I have it on.”
All my algorithms are tuned to perfection. In other words, I spend so much time within a prison of my own preferences that it has become a relief to be offered things I would never want.
QVC pioneered a new type of television programming, shopping and entertainment churned together in one comfortable swirl. But the entertainment is of a specific type: It provides something that Lizzie and I sometimes call “The Voices.” The Voices could come from a podcast, or from scrolling on TikTok; the point is that they give a restless mind something to do between bouts of more concentrated thought, like psychological chewing gum.
I have spent the last few years learning about how my generation’s attention spans have been torched by social media and smartphones and how our minds now require constant stimulation in order to function. But Arlyn David and her ilk are proof that the desire for The Voices predates millennial dopamine addiction by decades at least. What does the everpresence of QVC do for them?
Whenever I ponder this, I think of the house I grew up in, set back into trees at the end of a cul-de-sac, in an American suburb that thundered with silence. Perhaps The Voices answer a deeper, more basic human desire: the urge to fill a quiet house with conversation, no matter how inane.
Like friendship, QVC has its own vernacular, formed over years and opaque to outsiders. For example: Weighty, substantial fabrics are sometimes referred to by hosts as “beefy.” Host Leah Williams was, by her own account, the first person to use this term. Then QVC stalwart Isaac Mizrahi borrowed it, and then his reps started using it when they went on for their presentations, spreading it back to the hosts. So everyone calls things “beefy” now, usually crepe pants or wool-acrylic blend sweaters. Another one: Cotton has “a dry hand.” This means that when you run your hand over the fabric, it feels dry to the touch, not slick and smooth like a synthetic blend. Fabrics that have a dry hand are cooler and less clingy on the body.
The colors on QVC have beautiful and evocative names, like Butter Rum, Flame, Celebration Pink, Nantucket Blue. Sometimes, when color names are too highfalutin, conflict occurs. The brand rep from the QVC brand Denim & Co. is always going at it with host Amy Stran over this. “This one is called Heather,” he’ll say, and Amy will rush in to offer an alternative: “But it’s really not gray at all, more like a beautiful smoky purple, a lavender.” Then, next time they go through colors, she’ll say, “This one is called Heather, but remember, think lavender.” Amy is very serious about colors. It really pisses her off when brands call black “onyx” or gray “silver.” She probably assumes it will confuse the customers. She is probably right. Whenever these tiffs would happen, Lizzie and I would lean forward over our knees, eager to see the two of them go at it.
If you watch enough, you start to notice these tensions; you become a scholar of them. Lizzie and I are fandom members of the country’s longest-running reality show. The faces of the hosts unfurl themselves under our unrelenting gaze, revealing an ill-advised spray tan, an early pregnancy, plastic surgery, dead teeth. QVC has deepened the language we share with each other, created a shared set of references, in the same way that going to college together did, or the time when we were both AMC A-Listers. It has become more than brainless viewing. It is a hobby.
We have the festering snobbishness of transplants. New York City is our home, but our impossible aspiration is to have never lived anywhere else.
There is even a subreddit dedicated to making fun of QVC personalities and their quirks: r/QVC_Snark. It is a community of insiders. The Redditors attack with the vicious specificity that only intimacy can produce. “Why is her head a literal box?” asks a recent poster, sharing a photo they took of host Courtney Khondabi on their TV screen. Or, of host Rick Domeier: “Rick has been wearing the same jeans for weeks now!” They make fun of the prices, usually during the food presentations ($100 hot dogs, $11 per 6 oz. piece of salmon) and the clothing segments (LOGO by Lori Goldstein is a popular punching bag: “All this needs is some lace and a ‘wide load’ banner across the ass”).
During the three years we lived together, Lizzie and I spent countless evenings performing QVC-themed comedy routines for an audience of one, doing spittakes with our wine, high on the feeling of being clever and understood. But we only discovered r/QVC_Snark later, after we were living on opposite sides of Manhattan. All this time, here were our people! One night I sent her a series of posts I collected during a lurking session, wishing I could see her reaction. After a few seconds, she responded: “Nothing but you has made me laugh this hard since I was a kid.”
Redditors will be Redditors, but look, we are all supposed to be in this together. The hosts and reps are wives and mothers too (or the gay best friends of wives and mothers, or at least the closeted neighbor of wives and mothers). They are wearing the sweaters, using the hand cream, planting the perennials, or at least, they say they are. Part of QVC’s structure—a crucial part, in some readings—is the connection between hosts and viewers, not theoretical, but literal. Almost every live broadcast has a call-in element that allows viewers to speak on-air to their favorite hosts, to ask questions about the product, or, more frequently, praise it and announce their intention to buy more.
“Speaking with a host is, for many callers, a meaningful, seemingly priceless exchange,” write Courtney and Wettach. “Callers frequently divulge personal information, telling the host about illnesses, financial status, and family matters.”
It’s true; I have seen it. A recent caller told QVC personality Kim Gravel, in a voice thick with tears, that she had gotten used to “not feeling part of the world,” due to her weight, but that Kim’s clothing line had given her the confidence to participate in life. “That is your ministry,” said the caller.
I looked up. Ministry! It was such an extreme word, and even odder applied to Kim Gravel. (Boisterous! Brassy! The onetime host of a Lifetime reality show called Kim of Queens where she ruthlessly prepared young girls for beauty pageants!) The longer I thought about it, the more I found myself relenting. Anyone who denies the therapeutic value of clothes that fit has never had the experience of not being able to find them.
This is, perhaps, at the heart of my ambivalence toward QVC, or more accurately, my inability to see my engagement with it as pure ridicule or even a hate-watch. Every so often, I am startled with a reminder of who else is out there watching. Skechers presents a pair of sandals with hands-free slip-on technology, so that you don’t have to bend over to put them on. On the Over 50 & Fabulous program, the women from Breezies sell underwear designed to withstand hot flashes and bladder leaks. Where else can these items be reliably purchased, or so frankly and cheerfully discussed?
Onscreen, listening to the caller’s praise, Kim was nodding. She was clearly touched, or at least, she looked like it.
I sometimes imagine the person I would be if I took them all up on it. If, one day, a tower of packages arrived on my doorstep, containing Women With Control stretch denim, IHKWIP quilted tote bags, Clarks Cloudsteppers shoes, and silicon Cool Grippers pot-holder tongs. How would my life be arranged around these items? I imagine I would measure out the years in landscaping projects. My afternoons would be taken up by long car journeys, ferrying children to softball tournaments or play rehearsals, going to the grocery store and the nail salon.
I know women like this; I grew up with them. So did Lizzie. We have the festering snobbishness of transplants. New York City is our home, but our impossible aspiration is to have never lived anywhere else. We turn up our noses at the strip malls of our youth, and share our faltering moments only with each other: the secret joy of a Target where deodorant isn’t locked behind plexiglass, the frustrated desire to place groceries in the trunk of a car, the fizzy hedonism of a 44-ounce Diet Coke from a fountain. This, too, unites us: our aborted suburban futures, the secret panic that they may have only been deferred. Do we watch QVC to indulge these sublimated cravings for peace and comfort, taking furtive bites of soccer-momdom to keep us going when the subway is delayed and the rent is due? Or do we watch it to set ourselves apart, to reassure ourselves that we will never give in?
What happened within me when I cringed at the caller on the Kim Gravel broadcast? Why was my initial instinct an abstracted pity? Do I think I will never get there—never find a source of unexpected divinity, never be moved to tears by something ridiculous, that the material conditions of my life will never become more complex or more banal? Do I think I will never grow old?
It’s not true that QVC has nothing to offer me. I order my mascara from there, almost exclusively, three tubes for $40 when a single tube of the same mascara at Sephora is $28. Lizzie and I went halfsies on a MacKenzie-Childs teakettle (in the limited-edition Tattoo design) that we gave to a friend for her birthday. They have great prices on Dyson products. And some of the purses are cute.
We do not call in, of course. We order online, like we do everything else.
In April 2026, the QVC Group (which operates the three QVC channels as well as HSN, the Home Shopping Network) filed for Chapter 11 bankruptcy, announcing that the company would be significantly restructured in an effort to reduce its debt (a process which included increasing CEO David Rawlinson II’s total compensation by 70% as they braced for impact). The shopping channels, they insist, will proceed as usual. Despite layoffs of over 900 employees in March 2025, the company says there are no plans for further cuts, and there will be no disruption to the flow of content upon which my fellow QVC-nuts and I have come to rely.
Still, there is danger on the horizon. Change is coming, and has been for a while. The 2000s have not been kind to the networks. There have been lawsuits: In 2000, the Federal Trade Commission barred QVC from making unverified claims about weight-loss products, such as the claim that Lite Bites items like granola bars and shakes enable customers to lose up to 125 pounds, and that Lipofactor Cellulite Target Lotion “causes measurable inch loss from users’ arms, thighs, and abdomens, without the need for a restricted calorie diet or increased exercise.” QVC violated the order, and the government sued in 2004. In 2024, QVC recalled 1.1 million pairs of Temp-tations oven gloves after customers reported burns caused by insufficient heat protection. The 2025 layoffs were preceded by staff reductions in 2023, and in 2020 during the pandemic, when the network also eliminated live programming on QVC2. Something has got to give.
Wouldn’t it be better for QVC to die with dignity, rather than contort itself to chase audiences it will surely never get?
The rumor on Reddit, at least, is that QVC will continue to invest in its social media platforms, working with fresh-faced TikTok creators while their seasoned hosts languish on cable, tailoring their product pitches to a richer, more sophisticated audience. The transformation has already begun. You can see it in the jewelry presentations (5-stone diamond eternity bands for $8,500), the beauty products (10-pouch boxes of ELEMIS Cellutox Herbal Bath Synergy bath salts for $262), and even the food (lobster tails, filet mignon tips, or 3 lb. of shrimp cocktail for $133). Hosts now talk about the lack of “chemicals” in their bagels, or the importance of building “hair health” with Dyson blow dryers.
Will this work? It seems unlikely. Lizzie and I are the only people we know who watch QVC, let alone shop there. When I brought up the topic to a group of women my age, half of them had never even heard of it. Wouldn’t it be better for QVC to die with dignity, rather than contort itself to chase audiences it will surely never get?
It turns out I am tender. I do not want QVC to change. There has been too much change already. A couple of years ago, I moved out of the apartment with the pink couch and into a place 13 blocks uptown, with a man who became my husband. Lizzie found a rent-stabilized one-bedroom on the other side of the park. I went back to school and made new friends; Lizzie started spending more time in London with her sister. For the first few months in my new home, I tried to watch QVC, but it made me sad: The Voices were still there, but the only voice I wanted to hear was a 30-minute subway ride away.
We reached that inflection point, that warped and curved surface upon which women friendships sometimes teeter. We are at the age where everything gets ruined. Still, we talk all day long, an unending commentary on whatever is in front of us. Our enduring closeness is an anachronism, but a beautiful one. We should not still be here, the way we are, but we are.
I suppose it’s a lesson: Whatever will come will come. For now, it’s August, and Christmas, and there is still so much to do. The flameless candles have sold out in Beige. The man from Bethlehem Lights is here to present his pre-lit trees, stately faux spruces twinkling with proprietary Color Prism illumination technology, 81 color and light combinations, the best time to purchase is now. Why limit this glittering joy to the festive season? Many customers keep their Bethlehem Lights boughs decked all year long: red or orange lights for Harvest Time; red, white, and blue for the Fourth of July.
But you have to act soon. At the end of the broadcast, the eight-and-a-half-foot tree (“their most popular height,” according to the rep) will double in price. Under the bright overhead lights, in their living-room diorama, the people onscreen peer out at me, concern on their made-up faces.
They are worried, but they can’t seem too worried; they want me to pick up the phone, but not panic. This is the beauty of it—of all of it, in fact; this not-urgent urgency, this solvable problem. This is why we watch. The deals are going away, but there is no such thing as an ending. Tomorrow it will be Christmas again.
Hannah Engler Harvey holds an MA in journalism from New York University. Her work has appeared in Longreads, Evergreen Review, Talk Vomit, among other places. She lives in Manhattan.
Editor and fact-checker: Cheri Lucas Rowlands Copyeditor: Krista Stevens
For Eater, Bettina Makalintal reports on a refreshing trend in the restaurant industry: businesses embracing lo-fi, handwritten communications and announcements in response to the ceaseless AI slop we’re served across social media these days. From a grocery store’s hand-illustrated flyers to a burger joint’s Sharpie-scribbled menu specials, restaurants are choosing advertising with a human touch and rejecting polished AI-generated graphics.
It’s hard to think of a path of more friction than choosing to run a restaurant; why add even more friction to that? In these conditions, yes, it costs more to hire a photographer to promote your new menu than to generate one with AI, but it’s also increasingly clear that many people would rather see a badly taken, lo-fi photo than an engineered AI image. For one thing, it feels like a reflection of one’s values. To me, a restaurant that employs AI art is capitulating to the culture of slop, akin to reheating premade food from Sysco. It’s impossible to square with a value system that cares about craft and integrity.
By the time I encountered the fifth photo in Matt Seaton’s contemplative essay about New England’s stone walls, I found myself participating in the image, trying to figure out the maneuvers that had made the structure cohere. That’s a lot of the gratification here—”striving for coherence,” as Seaton, a former Atlantic editor, describes the work of walling. This is a quick read, and Seaton makes every word count, fitting a bit of Robert Frost and a lot of rock knowledge together just like he was building a . . . well, you know.
Bit by bit—which is the way with walls—my interest and knowledge deepened until what had begun as recreation morphed into a hobby job, mending other people’s walls. Eventually, I realized not only that I liked building walls, but also that I could scratch a subsistence living at it. In what probably struck friends and family as an act of lunacy, I quit my day job as an editor at this magazine and became a part-time waller.
Monarch butterfly populations are on the upswing. But, faced with climate change, pine bark beetles, and even avocado-farming cartels, can it last? For The Atlantic, Vann R. Newkirk II follows Cinderella, Eric, and Carle, three butterflies named by his young daughter, as they leave their wintering ground in Mexico to migrate north to lay eggs in order to complete their “biological mission.”
Cinderella, Eric, and Carle had all been tagged in Sierra Chincua, which meant that I could deduce certain facts about their lives. They were already bona fide world-class wanderers, having flown there all the way from Canada in the fall, a three-month trip. Along the way, they’d dodged birds and windmills and cars, eventually reaching the same patch of forest—perhaps even the same trees—that their great-grandparents had roosted in. For much of the winter, they had not eaten and had barely moved, jamming themselves so tightly against their fellow travelers that from a distance they looked like scales armoring the sides of the trees. Now they’d awakened, stretching their wings and warming up.
First off: This isn’t a Rick Moranis profile. I know you want it to be—we all want it to be—but it’s not. Maybe one day we’ll get the deep, rich look at a man who’s beloved by millions of comedy fans but who also stepped out of the public eye more than 30 years ago. Until then, there’s the fact that Moranis will be part of next year’s Spaceballs sequel, and as such was game enough to show up at San Diego Comic-Con over the weekend (where, predictably, Hall H chaos ensued). Anthony Breznican was there, shadowing the proceedings. Read it at ludicrous speed, obviously.
Even in this holding area, Moranis is already getting a sense of the excitement building around him. Among the first people to have their socks knocked off is Clerks and Mallrats filmmaker Kevin Smith, the moderator of the presentation and a Comic-Con stalwart for decades. “I came for the panel because of Rick Moranis,” he tells me, invoking the name of the actor’s beer-swilling duo with Dave Thomas from their SCTV days. “Jay and Silent Bob doesn’t exist without Bob and Doug McKenzie. Having him at Comic-Con is like having geek royalty here. You’re talking about a dude who, for most of us, was there as we grew up. He was part of the fabric of the culture since we were kids.”
What moves the star of Jackass to risk his life for our entertainment? This “very serious investigation” involves interviews with friends and family, a surf trip to Malibu, a gag with a fake raccoon, and a stop at In-N-Out:
He nosed the car into the drive-through line, drawing stares as he nosed—some for the vehicle, some for the driver. Mostly male stares. A teen-age boy stepped up to the passenger window and leaned in to take his order.
“One hamburger with tomato, lettuce, and mustard,” Knoxville said. “Fries, please. And a cup of water.”
“Onion?”
“No, sir.”
The teen-ager squinted. “You look familiar. Are you famous, by any chance?”
“Actually, completely by chance!” Knoxville improvised.
The Ego Trip, which will be released on August 4, expands on the story de Greef explored in his 2022 New Yorker feature, “The Pied Piper of Psychedelic Toads.” It’s as fascinating as the title promises: a deeply reported book on the rise and fall of a Mexican doctor who built a psychedelic movement around smoking the secretions of the Sonoran Desert toad.
What ties this reporting together is de Greef’s eye for complex stories in offbeat industries and underworlds, and his interest in the tensions between desire and regulation, love and exploitation. A journalist from South Africa, de Greef also co-authored the book Poacher, a firsthand account on the illicit abalone trade.
Next week, we’ll have an excerpt from The Ego Trip for you. In the meantime, dive into de Greef’s questionnaire and get to know the author behind the book.
I was born in London and grew up in Cape Town, South Africa.
What places feel like home?
My parents returned to South Africa when I was 1. We lived in a neighborhood called Observatory. I moved back here to live in a student house in my early 20s, and a few years ago I returned for a third time with my wife, who I met here too. At this point I might be in Obs forever.
Other than family members, who or what has shaped you the most?
I studied ecology at university and gained an appreciation for the wonder of evolutionary biology—the idea, essentially, that all life is connected, both in the present and backward through deep time to a common ancestor. It blows my mind whenever I think of it. I later researched abalone poaching for a master’s thesis and it changed how I thought about history, politics, and the law. Since then I’ve often gravitated to stories where inequality and crime intersect with the natural environment.
What is your favorite time of day?
Currently it’s when my baby daughter wakes up early in the morning and I get to hang out with her.
What are you really good at?
Catching flies with my bare hands.
What’s the best gift you’ve ever received?
A wet suit from my family when I was 10. They buried it on the beach and my uncle Cleon pretended to discover it. I started bodyboarding afterward and it changed my life in many ways.
Describe your favorite meal.
My late grandmother Vonni’s chicken guvetsi, a Greek dish made with orzo noodles. It’s been my favorite since before I can remember.
Sound or silence? (And if sound, what sound?)
I wish I could write in silence but my office is on a busy street and I’m unusually sensitive to noise, so I use noise-canceling headphones. These days I’ve been alternating between ambient music and progressive psytrance—it felt appropriate for the book.
Where do you do your best thinking?
Often while free-writing longhand (I should do that more often) or after a swim.
What journey—physical, creative, intellectual, or otherwise—has meant the most to you?
I developed chronic foot pain in my late 20s. While I was recovering, I got an assignment from Audubon magazine to report on a conservation initiative deep in the rainforests of Madagascar. We would be hiking most of the way there. I was close to broke and badly needed the work. To get out, I walked something like 20 miles in a day. It was grueling but I made it through, and for whatever reason my freelance career seemed to gather momentum afterward.
Where do you like to read?
In bed early at night before falling asleep.
What’s the last rabbit hole you disappeared into?
I started reporting a story about toad poaching in 2020 and imagined it would be 2,500 words or so. That one pulled me in pretty deep.
Name three publications you enjoy reading these days.
The New Yorker. Harper’s for its distinctive sensibility and offbeat stories that nobody else would publish. I’ve also been enjoying the new magazine Now Voyager.
What’s one longread that you can’t stop thinking about?
“The Hunt For El Chapo” by Patrick Radden Keefe is a certain platonic ideal for me. Panoramic reporting and a sense of effortless intimacy with material that’s notoriously difficult to source. Plus the writing is incredibly smooth.
What was the last book you read?
I just finished Norman Maclean’s A River Runs Through It. I had read the title story but not the final one, about a young man’s summer job in a logging camp. It’s so singular in tone and so richly observed and reminded me how beautiful and timeless writing can be.
What piece of nonfiction are you most proud of writing?
A story I did for The New Yorker about illicit gold mining in South Africa, something I’d wanted to write about for many years and am hoping to dig into further.
What’s your most reliable way to get creatively unstuck?
Jumping in the sea. Sitting in a sauna. Talking about it with my wife.
Who’s a writer you turn to when you need some inspiration?
John Steinbeck, particularly Cannery Row. I enjoy his humor and character sketches, but most of all I love how he writes about animals and biology.
What words do you overuse?
“Marginal,” “entrenched,” “booming,” “illicit.” Since writing about psychedelics, “radically” and “profoundly.”
What’s your favorite guilty pleasure?
At risk of sounding like an old man, watching archival cricket footage on Facebook.
What superpower would you like to have?
The gift of easy sleep.
What animal or nonhuman being do you most identify with?
I appreciate the stoicism of donkeys and the playfulness of seals.
If you have a free solitary hour in your day, what do you typically do?
Go for a walk in the neighborhood or exchange growls with my daughter.
What five items would you place in a time capsule?
A cricket bat, a ball, the rules, and two wickets (should be more but we’re out of space) so that the game can be reconstituted after the apocalypse.
What does your writing space look like?
After working from home for more than a decade, I now share an office with a documentary filmmaker just up the road from where I live. It has big windows and boxes of notes on the floor for my next book project and is upstairs from a good coffee shop, which is unfortunate because right now I’m not drinking caffeine.
Kimon de Greef is a journalist from South Africa and the author of The Ego Trip, an investigative nonfiction book about psychedelic toads, published by Doubleday. His work has appeared in The New Yorker, New York, The New York Times, The Guardian, Guernica, National Geographic, and other publications. He has coauthored a book about abalone poaching and holds a conservation biology master’s from the University of Cape Town.
The San Francisco Police Department cleared 14 percent of rape cases last year—half the national rate. An investigation finds that rape kits get tested fast, only for cases to be quietly shelved. Often, the only thing standing “between a report and the shelf” is what’s known as a “pretext call,” a recorded phone conversation in which a survivor tries to extract an admission of guilt from their attacker (aka relives their trauma to do the police’s work for them):
She sat in a room at the SVU headquarters with [Sergeant Johnathan] Ng and a recorder. She dialed the man she alleged raped her. He didn’t pick up. She tried again. No answer.
“If we don’t get an admission, it’s a he-said, she-said thing,” she remembered Ng telling her.
Then, she said, he offered some unsolicited advice.
“He told me that I probably shouldn’t be hanging out with 55-year-old men,” she said.
Travis Diehl’s feature on “Star Axis,” the half-century project of artist Charles Ross, is transportive, an ideal combination of explanatory and sensory writing. Not all of us will make it to the sparse section of Anton Chico, New Mexico, to ascend the steps of Ross’s pyramid and see the stars reel. For those of us who don’t, Diehl’s piece makes for an elegant consolation prize.
Ross broke ground during the U.S. Bicentennial year. Fifty years and more than $10 million later, he says “Star Axis” will be done by winter. In the final design, the staircase rises 11 stories through a tunnel blasted in the rock of Chupinas Mesa, 6,000 feet above sea level and into a viewing chamber in a concrete, stone and steel pyramid 52 feet tall. A circular window there frames Polaris. As viewers climb each of the 147 stairs, the rim of the window appears to broaden, giving an idea of how far Polaris has and will move in a given amount of time, during the 26,000-year cycle known as precession, the gravitational wobble of the Earth’s rotational axis.
Before I read this piece, all I knew about tomatoes was that homegrown tastes infinitely better than store-bought. For Offrange, Mitch Hagney educated me on how tomatoes ripen naturally and unnaturally, and how Big Tomato forces the issue in huge warehouses by pumping in ethylene gas. It might just inspire you to grow your own.
Tomatoes are climacteric fruits, like bananas, avocados, and mangos, which means they can be harvested unripe and complete the process later. Ethylene sends the hormonal signal to ripen. When that process happens naturally, cells near its seeds start producing the gas and it diffuses outward through the fruit. Each cell the gas reaches begins its own production, and the cascade softens the flesh and the tomato turns red from the inside out. That allows the fruit to be picked much greener, shipped far, and then ripened when they’re close to their eater.
To do it artificially isn’t complicated, but it is expensive. Ethylene floods the room at carefully calibrated amounts, and the operator compresses what might take weeks into five days. Sensors log temperature, humidity, and gas concentrations around the clock. The tomato turns red from the outside in.
Every adult who purports to care about a free press should read at least one story about the frustrating hurdles and bad-faith nitpicking confronted by student journalists (and their advisors). Earlier this year, a young reporter for the Redwood High School Bark found a few local references in the US Department of Justice’s public files concerning Jeffrey Epstein, the sex offender who died in 2019 while awaiting trial on sex-trafficking charges. Soon, the high school faced legal threats, and administrators grew concerned that students had published inaccurate information. Ara Rosenthal tells the story of the steady, diligent young journalists who weathered the worries and pressures of the adults around them—and kept their story intact.
People are choosing cremation far more often these days. Open-casket funerals are on a steep decline, along with the professions that allow for loved ones to comfortably view their dead for the last time. For Harper’s Magazine, John Semley talks to Anthony Saldivar, Berri Cooper, Danielle Colquitt, and Hannah Bugos, all of whom competed in the Restorative Art Technical Showcase, “the highlight event of last year’s National Funeral Directors Association convention.” These elite undertakers are highly skilled in what’s known as restorative art, the process by which humans disfigured by grievous injury or disease are made to look like they did in life, so that their loved ones can bid farewell to someone they recognize.
Cooper has dealt with several particularly complex restoration cases during her long career. While we chatted, she pulled up images on her phone of a father who’d been burned so badly in an accident that he was, save for some faintly visible protruding teeth, barely identifiable as a person. She was able to perform a full facial reconstruction on him based on photographs, so that his loved ones could say goodbye to someone who was not only recognizably human, but familiar to them. “There’s not a body where I’ve said, ‘No, I couldn’t,’ ” she told me. That includes the mutilated body of a stillborn baby, whom Cooper embalmed and restored at a grieving mother’s request.
The vanishing of any craft is a tragedy to all who prefer the existence of a thing to its opposite, but restorative art represents more than just a niche domain of aesthetic achievement or a macabre postmortem racket. With its disappearance, we stand to lose a whole way of memorializing our dead: one that might be pricey, unnecessary, and even a little absurd, but only out of commitment to the notion that an occasion as final as death is worthy of pomp and circumstance.
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