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.

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 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.

The peg for Robert Zaretsky’s essay on Samuel Beckett’s Waiting for Godot feels flimsy: “the 70th anniversary of its American premiere,” which lagged the show’s proper premiere, in Paris, by three years. Disregard the peg; as Zaretsky makes clear, there’s not a bad time, these days, to consider Beckett’s best-known work, a demonstration of “solidarity and compassion” set against a “featureless, colorless vista.” The stage directions for Godot have Estragon, one of the play’s leads, look out into the auditorium as an extension of the devastation. “Inspiring prospects,” he says. Let’s hope so.

Of course, Godot never arrives. In a Sesame Street parody of the play, the tree, fed up with the melodramatic and nonsensical patter of two Muppets waiting for Elmo, uproots itself and walks off the stage. But we cannot uproot ourselves and walk off the stage; instead, stuck like Didi and Gogo in a state of non-arrival, we wait. For those who waited for an answer from Beckett, none ever came. He once snapped at the English actor Ralph Richardson, who asked if Godot stood for God. If he had meant God, Beckett said, he would have written God. The play, he insisted, strove to avoid definition. This strategy of avoidance leaves us to gaze at a landscape void of meaning, one that by turns is the source of our bemusement and amusement.

When Steven Judy was executed for rape and murder in 1981, he was little more to the public than a monster. To Traci and Randy Carr, he was something else: a hero and a protector. After all, he was their foster brother. For The Guardian, Masha Hamilton—who covered the Judy trial as a young reporter more than 45 years ago—returns to Indiana to meet the Carrs, and to take the measure of the hole rent in their lives by Judy’s actions and disappearance.

Her mother has begun appearing again in her sleep: Mary holding her, comforting. Almost as if speaking aloud what had been buried for decades had called her mother back.

“Everyone hated Steve, and we were told we should too,” Traci says. “For a long time, I thought we did something wrong, and I was ashamed. People treated us like we had raised a murderer. It’s still how people remember us. I don’t think Mom ever got to grieve properly. I don’t think any of us did.”

When we think of the ancient world, Greece and Rome usually come to mind, with perhaps a smattering of Cleopatra and Egypt thrown in. This is true not only for the general public but for scholars too, who have tended to keep a narrow focus on these cultures. But, as Carlos Noreña reports, we are on the brink of an exciting shift that explores the patterns of connectivity and exchange that shaped a truly global ancient world. After all, when eighth‑century Central Asian silver vessels turn up in an archaeological dig in Scotland, you have to broaden your view.

The physical geography of temperate Afro-Eurasia, then, enabled a particular configuration of long-distance connectivities. But how extensively and how deeply was this transcontinental region interconnected in antiquity? Should we see ancient Afro-Eurasia as an integrated ‘world system’? We can reconstruct the broad contours of such a system in the Middle Ages, from the middle of the first to the middle of the 2nd millennium CE. This was the world brilliantly brought to light, and to much fanfare, in the recent ‘Silk Roads’ exhibit at the British Museum in London. What made the show so remarkable was quite simply the assemblage, in a single space, of a wide assortment of premodern objects that had travelled over vast distances before settling in far-flung locales. A humble, 6th-century glass bowl from Iran was found in Nara, Japan. From a shipwreck near Sumatra in Indonesia, divers recovered a 9th-century turquoise-glazed ceramic amphora from West Asia. There were luxury goods on display, too, including a spectacular 7th-century golden necklace found in the eastern Mediterranean with lapis lazuli from Afghanistan and rock crystal from Madagascar, and a remarkable set of 8th-century ivory chess pieces from South Asia discovered in Samarkand in Uzbekistan. These long-distance connections reached into the far west of Eurasia, too, as revealed by the fragments of a 10th-century Chinese silk tunic found in Sweden, or the 8th-century Central Asian silver vessels that made their way to Scotland.

I have a vague eighth-grade memory of trying to run 400 meters in under a minute. The operative word here, of course, is “trying.” But what eluded me then is nothing for the middle- and high-school kids of today, who are shattering track records on a weekly basis. Some of that is sneaker technology, some of it is training, some of it seems to be an intense competitive drive fueled by social media. Whatever it is, Brendan I. Koerner has seen it in his own kids—and now he throws himself into the world of scholastic speedsters for his latest Wired feature.

The results make track old-timers shake their heads with wonder. In April, for example, an eighth-grade boy shattered the national middle-school record for the mile (he ran it sub-4:18). Just two weeks later, an eighth-grade girl ran the 400 meters faster than any US high schooler had at that point in the year (she clocked 51.58).

It’s not just the superstars who are getting faster. The runners in the pack behind them are picking up the pace, too, and they’re transforming what’s considered a decent time. “I think I have 10 middle-school girls who run between a 4:56 and a 5:16 mile,” says Peterson. “Ten years ago, you’d be like, ‘That’s insane.’ Now it’s nothing.” When these kids head to high school, they have the strength and experience to flourish right away. But given the sky-high expectations they face, the intensity can come at a cost.