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Tag: q&a

  • 3 IMPORTANT Over 50’s Dating Questions . . . Answered!

    3 IMPORTANT Over 50’s Dating Questions . . . Answered!

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    3 IMPORTANT Over 50’s Dating Questions . . . Answered

     

    You can read the blog below or watch it on YouTube by clicking here.

    Chances are you never thought you’d be dating as a woman over 50. Right?

    Dating was for young people.

    In fact, for most of us, that was the last time we went on a date.

    Yet, here you are today having to use a skill you haven’t used in eons.

    Navigating the dating world isn’t always easy.

    In fact, it can be quite hard to figure out what really works and that’s why today I want to answer 5 of the most important dating questions I’m often asked about dating at this time in your life.

    Question #1 – I want a man to be my best friend. Is that possible?

    Communication with a man isn’t the same as it is with your girlfriends.

    Emotionally healthy men will be your best friend by keeping you safe, protected and provided for.

    He will do his best to fix anything that makes your life easier for you.

    To a man, his actions speak far louder than his words.

    His actions are how he shows you he loves you.

    As women, we love talking because the same hormone that gives you an orgasm is the same one that is released when you talk.

    It’s why women verbally process everything. It feels good.

    Men on the other hand preserve their words and can be quiet at times.

    Not talking about life the way you would with your friends doesn’t mean he doesn’t love you.

    He does.

    He just doesn’t want to get involved in long conversations about things he has no interest in.

    When you share involved and complicated stories about your friends and their families, a man can’t keep track of the point you are trying to make.

    Unless it’s about you and taking care of you in some way, his eyes glaze over.

    This is why it’s so important to have girlfriends who will happily process anything with you over your favorite martini or glass of wine.

    Question #2 – Do I have to have chemistry right away to know if he’s the one for me?

    If you said, “yes” then you aren’t alone.

    Many women use chemistry as the basis for knowing whether or not a man is the right one for them.

    Chemistry is amazing but it isn’t sustainable.

    Without a friendship, no matter how much chemistry you have, the relationship can’t stand up to the test of time.

    Many of my clients have not had immediate chemistry with their guy.

    They thought he was cute but the zing was not there.

    Yet, their guy seemed really nice so when he asked them out again, they said yes.

    They ended up creating an amazing friendship and over time the chemistry kicked in.

    If they had used immediate chemistry as the barometer for deciding if he was the one, they’d have missed a really great guy and a really great relationship with someone who absolutely loves and adores them.

    Do yourself a favor . . . if a man is nice, give him a chance and get to know him.

    Question #3 –  I always see a man’s potential even when he doesn’t. Is it ok to give him tips and advice to bring out the best in him? 

    THIS IS A SOLID NO!!!!!!

    One of men’s biggest pet peeves is about women who are always trying to change them whether it’s the clothes they wear, the food they eat or how they do their job.

    One of the coolest things about emotionally healthy men is they love you exactly how you are.

    That’s because men fall in love with the real you.

    But women fall in love with a man’s potential then they try to fix him up to be his best.

    If you don’t like who a man is the best thing you can do for yourself and for him, is to let him go and find a man you can love for exactly who he is.

    Now for today’s inspiration that you can find love after 50!

    I’m so grateful to have found Lisa Copeland and her Love After 50 coaching program. The insights I learned about how men think and what they are looking for helped me find the man of my dreams so much faster than I thought possible! We have been dating exclusively for over 6 months now, and have definitely fallen in love with one another! I am so grateful to have created a tool Lisa teaches called a Quality Man Template. It’s a clear vision of the right man for me and it was the key tool that helped me realize that this man is the one I had been looking for all my life. Thank you, Lisa for all you have taught me! Hugs and kisses and best wishes to you! Lisa, Minnesota

    Believing in you!

    Believing in You!

    Lisa

    P.S. Whenever you are ready, here are four ways I can help you find love after 50

    #1: Get a copy of my book The Winning Dating Formula on Amazon



    Where I will walk you through a step-by-step breakdown of the exact tools and strategies you need for attracting the right man into your life — Click here

    #2: Join the Finding Love after 50 Facebook group

    It’s our Facebook community where you can connect with me and a community of women ready to support you on your journey for finding love after 50 — Click here

    #3: Find the Right Dating Site for you

    Check out some of my favorites —  Click here

    #4: Work with me 1-on-1 or in my Group Program



    If you are interested in learning more about how I can help, you can click here to answer a few quick questions and schedule a call.

    I would love to learn more about your dating journey, understand where you might be stuck, and give you a personalized step-by-step blueprint to attract the right man. And maybe even talk about how we can work together.

    Copyright© 2024 Lisa Copeland. All rights reserved.


    On August 14, 2024       /   Dating Advice Over 50, Dating After 50, Dating after 60, Dating after 70, Dating Mindset after 50, Meeting Men Over 50, Mindset after 50  

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    Aurelija Guerraea

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  • A Real-Life Storm Chaser Answers All Our Questions About Twisters

    A Real-Life Storm Chaser Answers All Our Questions About Twisters

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    Photo: Universal Pictures, Warner Bros. Pictures, and Amblin Entertainment

    “WE DROVE INTO A TORNADO!!!” announces one of the most popular videos on storm chaser Jordan Hall’s YouTube channel. (“IM IN IT!!” a graphic on the still adds, in case you were wondering.) The video alternates between terrifying drone footage of a giant tornado cutting across Nebraska and the sounds of the folks in the truck clamoring to buckle up and roll up their windows as the wind and rain overtake them. The Oklahoma-based, 27-year-old Hall has been chasing storms since his senior year of high school; it’s a fascination borne out of a childhood obsession with the 1996 Jan de Bont film Twister. On the precipice of Lee Isaac Chung’s not quite sequel, Twisters, in which Glen Powell’s character plays a Youtube storm chaser named Tyler Owens, we spoke with Hall over Zoom to talk about the realities of modern-day storm chasing, competing for content, and how likely it is to see twin tornadoes out on the road.

    How did you first learn about storm chasing?
    I got obsessed with tornadoes and severe weather when Twister came out when I was a little kid. It was my favorite movie. Then as I got into middle school and then high school, I watched a lot of the Weather Channel stuff with Jim Cantore, who I always thought was cool. When I was a senior in high school, my town of Baker, Montana, actually got hit by a tornado, and I went out chasing it. I met another storm chaser that day who was driving through, and that’s when I realized people actually go all over the U.S. to chase them. He was from Oklahoma, and he drove all the way to Montana to chase it. I was like, “That’s crazy, but it’s awesome.” When I went to college in Chadron, Nebraska, me and my buddy started skipping classes to go chase tornadoes, even though we had no idea what we were doing.

    Did you study weather in college?
    I went to school for criminal justice because I didn’t think there was actually a career path in storm chasing. It’s not like there’s a job application for it. I always figured it would be something I’d do on the side. I really credit my mentors and chase partners; they not only taught me how to storm chase but showed me how to work the media side of it. If you shoot crazy videos, you can sell them and make money. I’m like, “Well, if you can sell enough of it, you can make a living.” That was kind of my motivator: “I just gotta shoot crazy videos.”

    In both the original Twister and Twisters, storm chasers drive around with teams. When you go out, how many people do you chase with?
    For a while, it was just me and my chase partner, Scott. And then it was just me for a while going out there and doing it solo. For the past year and a half, it’s been me and my girlfriend, Sierra —

    Oh wow!
    She storm chases with me a lot. Starting last year, I teamed up with Reed Timmer — he was on the TV show Storm Chasers back in the day with a tornado tank, the Dominator 3. I’ve jumped around and teamed up a little bit, but overall I try to do things myself and make my own name.

    Did you and your girlfriend meet through storm chasing?
    We met on Twitter, but she’s studying meteorology.

    What’s your dynamic when you go out chasing together?
    If we’re out chasing, she’ll run the computer, looking at forecast models and looking for road options, and then sometimes she’ll shoot video as well.

    What kinds of traits make for a good storm chaser?
    The best trait is just being able to be on the road nonstop, consistently, not needing to stop and go to the bathroom every 30 minutes, and being willing to live off gas-station junk food for a while. I think we’ve done over 48,000 miles this year alone already. You’re almost on the road more than a truck driver is. It’s like car camping.

    Do rivalries develop between storm chasers out on the road, like what pops up in Twister and Twisters?
    At the end of the day, a lot of people are going out because they love weather. We’re all united on that front. But we all compete, too, because everybody wants to get the craziest shot. When someone else gets crazy footage, you’re like, “I’m so mad at you … but I’m happy for you at the same time.” The competition helps push people to shoot better footage, but it has its risks, obviously.

    I watched your video where you drive straight into a tornado.
    That was in the Dominator 3, yeah.

    How do you know when it’s safe to do?
    That vehicle was fully designed to go into a tornado. Our mission for that was to find a photogenic or a condensed tornado, preferably in the middle of nowhere so there’s no debris flying around. That’s one of the biggest threats, getting hit with something like a tree or someone’s house. That day just worked out perfectly in Nebraska; we were in the middle of nowhere. You can look at the tornado itself and you can tell whether it’s violent or if it’s too strong. You can tell by the motion. The motion will give it away. With a strong tornado, you’ll start seeing more of a vertical, throwing things straight up in the air. It’s almost like digging a trench or picking a flower out of the ground. When it’s a wispy or weaker tornado, there’s more of a spin to it, blowing things off to the side. That tornado was definitely strong, and we were being risky on that one but we ended up making it work.

    The storm chasers in these films have a real sense of what a tornado might do based on the feel of the air or the look of the clouds. How do you develop that instinct?
    You really learn to look at what’s called surface observations or mesoanalysis, and you gotta look at your dew points. When you’re stuck between multiple storms and you don’t know what’s going on around you, wind direction is a huge key because usually the wind will end up leading you to where the tornadoes are. It’s more helpful to have a general idea of where you are on the storm’s path, versus the tornado’s location itself. If the air is really hot and humid, that’s healthy for a storm, but if I was to hop out and all of a sudden I’m getting cold air thrown at me, the odds of that being a tornado producer are very low. Cold air means it’s outflow dominant. The storm is pushing out all its recycled air; it’s not breathing. Knowing how to key in on certain things like that helps a lot, especially if you get into sticky situations when you’re chasing at night or in the rain.

    There’s a big set piece in the new film when the storm chasers witness two tornados splitting apart into twins almost. Is that something you’ve seen out on the road?
    I’ve seen tornadoes have a big satellite on them. It’s usually anti-cyclonic, and you can see them kind of revolve around each other. It’s very rare to get tornadoes that split off into separate directions, but it does happen. This year on April 26, we didn’t see twins — there was an old tornado occluding as it was coming back north and then a new tornado was forming just to the east of it. So we saw those two tornadoes, but one was weakening as one was getting stronger. Still, seeing two tornadoes simultaneously for about two minutes is pretty cool.

    Are you excited to see Twisters?
    I am so excited.

    What do you think it was about the original that you loved so much as a kid?
    I have never been asked that question! I just remember watching it and first thinking the music was really good and then I was like, “It’s crazy it’s so flat there,” because I had never been to Oklahoma. I was a Montana kid. Everybody in that movie looks like they’re having a good time when they’re out on the chase. Going up and seeing tornadoes up close is so beautiful and scary at the same time. I just felt like I wanted to see more of that. And the romance between Bill and Jo is so good. I can watch Twister over and over. My girlfriend complains because any time we watch it, I literally quote the entire movie word for word. So it’s funny. It’s just my favorite movie. It’s perfect. It has the perfect blend of CGI and regular theatrics, and it still just looks really good. Obviously, there are some inaccuracies in it about storm chasing, but it’s still one of the most realistic tornado movies out there.


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    Fran Hoepfner

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  • Your EDM Q&A: Rohaan, Like His New EP, Is Just a ‘Boy In a Dream’ [VISION] | Your EDM

    Your EDM Q&A: Rohaan, Like His New EP, Is Just a ‘Boy In a Dream’ [VISION] | Your EDM

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    Rohaan’s always had an air of mystique around him. Even back to his early days in the experimental trap and deep bass worlds, releasing on MAD ZOO and Deadbeats. His style has that indistinguishable quality that the likes of IMANU, Current Value and Amon Tobin have which certainly transcends genre, but also seems to transcend space and time. A powerful manifestor as well as a creator of some of the most interesting beats of the last seven years, it seems inevitable that he would eventually release on VISION.

    With his genreless take on deep bass, Rohaan’s first release with the Noisia boys was actually on their erstwhile “miscellaneous bass” label, Division. He made a funky, loud dubstep remix of Tek Genesis’s “Cloud Kingdom Theme” that seemed like a departure even from his own diverse style. But if we’ve come to expect anything from Rohaan, it’s the unexpected. His debut EP, Boy In A Dream, which came out earlier this month on VISION is certainly that. Containing everything from techy, clubby D&B that defies subgenre to ameny almost jungle to video game halftime to techno-infused bass house, fans shouldn’t be surprised if there were samples from an actual kitchen sink thrown in there just to make a point.

    Because of the diversity (even for Rohaan) of this EP, YEDM wanted to catch up with the Manchester-based artist to find out how the hell this extremely interesting piece of work came together. The takeaway? It’s a love letter to the club. Rohaan’s advice for making D&B? Don’t listen to D&B. Read on.

    Let’s start with the tagline VISION used in your promo: “2 years ago I wrote ‘Vision Recordings’ on a note and stuck it to my bedroom wall…and now here we are.” What does reaching this goal mean to you? 

    So, I write four key goals on a note each year. These are usually written at a time where that goal is in my line of sight but very far away. So, to be here, EP made and released, it’s a wonderful career-affirming place to be. I have looked up to VISION since I was at school studying music, my best friends and peers all love the label, so it’s definitely a wonderful place to be knowing my sound fits the bill!  

    Some fans might actually be surprised to learn that Boy In a Dream is your Vision debut EP, as your sound’s always seemed well-suited to the label, especially in recent years. Why do you think now is the right time or what do you think made this EP stand out to them? 

    I’ve had multiple releases with them in the past, doing three remixes for the likes of Noisia, The Upbeats and Icicle, then a collab single with Tom Finster. This is my debut solo release with them. We actually started working on the idea of an EP back in September 2022, so it’s been a long process of many demos and many weeks of refining my sound to get here. Very excited to bring it to life.  
     

    It seems clear on the EP that you didn’t necessarily have a specific label in mind; how did you go about putting it together, especially in terms of all the styles?  

    In terms of this release, we had many conversations with VISION to refine the huge demo list and get them to the final 6 that you hear today. Some of these were just fun things I started, others were specifically made for VISION, so it varies. My style and sound are quite eclectic, so I wanted to showcase that in this EP.  
     
    While a lot of fans think you hit the bigs somewhat suddenly with Shogun, prior to that, you released on some excellent cutting-edge imprints like Deadbeats, Mad Zoo and Unchained. How do you think your experience working with the more twisted beats labels shaped your style when it began to get more popular? 

    With each release, I’m learning and evolving, both through external life experience and seeing the response to my music from fans’ point of view. My style has definitely evolved into two parts. Pop/more stream friendly, and club music. My recent single “Run Away” with Kelbin is a great example of the pop side. My Boy in a Dream EP is a great example of my club influences. It’s been amazing to see my name and my homies names gain so much traction the last few years. That we can actually host headline shows and make music for a living is wonderful thing.  

    In terms of style, from do you feel you take the most influence? Did you really focus on curating your style in the beginning or was it more hit and miss? 

    My influences are from all parts of music except D&B. I don’t really consume the genre anymore, and if i do it’s my close friends’ music, Like IMANU, Buunshin, The Caracal Project ,etc. I mostly listen to the likes of Leon Vynhall, Joy Orbison, ATRIP, Jasper Tygner, O’Fylnn, Frazer Ray and SBTRKT to name a few.

    I have a Patreon page where I posted a video recently about “how to find your sound and create something original.” I talk about the importance of expanding your creative inputs and horizons and the career-shifting results that will have in the long run. I’m passionate about that for sure.  

    All your previous EPs have been, despite the complexity and diversity of the sound, honed around a specific concept. Were you thinking concept EP for Boy In a Dream? If so, what was it? 

    To be honest, this is more of a collection of club leaning-tunes. No deep story with this one. Each track is its own world, its own universe for people to explore. My Bleach EP was a true story-driven EP, but this one felt great to just give it all to the club scene. I have been on tour for the best part of a year and a half now, all over the world, so my input is mostly club music and energy leaning that way, hence the output of this EP. I’m a boy living his dream 

    Each individual track seems to be its own mini theme or concept within the EP. How do you go about putting a vibe together for a track? What was your goal for some of your favorites on the EP? 

    I really try to say one thing through a track and say it the best I can. So each track is a refined version of its demo self. Each track has a clear theme from start to finish and says it the best I could get it to say it with my current creative self. Each track serves a different purpose.  

    Conceptualizing aside, do you think fans will be able to recognize the vein of your style that runs through all the tracks? 

    It’s not something that I think about really. It’s all got the Rohaan name on it, it’s a more refined version of my sound and gives them a taste of it all. If they come to a show of mine they will see the full extent of my style come through  

    What do you want listeners to take away from the EP as a whole? 

    I want them to play it as loud as they possibly can and to as many people as possible. This EP is for the club and the house party, so enjoy! 
     

    Anything else exciting on the horizon? What can fans expect next from you (aside from the unexpected)? 

    Many a thing! I’m just about to finish my 4four-week North American Tour, and I have loads of singles already lined up for this year. I’m playing Tomorrowland, Lightning in a Bottle and some more huge festivals that I can’t say just yet. But what a journey so far! I’m so grateful and full of gratitude for every person that reaches out about my music. I just got gifted a watch in NYC! So I’m just taking it all in, really. 
     
    Thank you for having me and be sure to come to one of my upcoming shows. They are special!  

    Boy In a Dream is out now on VISION and can be streamed on Spotify or purchased on Beatport.

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    Layla Marino

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  • At 79, Rod Stewart shows no signs of slowing down, with a new swing album with Jools Holland

    At 79, Rod Stewart shows no signs of slowing down, with a new swing album with Jools Holland

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    Sir Rod Stewart will not be slowed.At 79, he continues full-throttle with a busy year. Highlights in 2024 include his 200th show at his Las Vegas residency, an ongoing world tour and a new swing album.”Swing Fever” is a collaboration with Jools Holland and the talk show host-musician’s Rhythm & Blues Orchestra and tackles some timeless tunes from the Big Band era, like “Pennies From Heaven,” “Lullaby of Broadway” and “Sentimental Journey.”No stranger to the American songbook, Stewart had one request for Holland: “I’m not going to do any slow songs,” Stewart said. “I want all upbeat happy song, which we need in these grim times that we live in.”Related video above: Sir Rod Stewart sells music rights for almost $100 millionStewart expressed gratitude singing songs crafted at a time when a songwriter was a specific job, before bands wrote their own.Holland, who began his career with the 1980s band, Squeeze, joked on how the paradigm shifted.”I think the Beatles were to blame. I think everybody thought they could write songs after that. So bands always kept doing it,” Holland said.Stewart, who has written his share of hits, was happy to concentrate on crooning.Stewart was recently in New York, and before heading off to a downtown pub to watch his beloved Celtic soccer team take on rivals Hibernian, he took some time to chat with The Associated Press about making music, maintaining his health and whether there’s retirement in his future.Q: What was the appeal of going back to these tunes?STEWART: They make you tap your feet. They make you smile. Both of us (Holland) were brought up on this music. I did “The Great American Songbook,” so for me this was a natural progression. And one thing I said to Jools was, I’m not going to do any slow songs, I want all upbeat, happy (claps his hands) which we need in these grim times that we live in.Q: What was it like doing this record?STEWART: I love the whole process of doing live shows. I love recording. I loved when we put this album together. It was such a joy. We didn’t have any arguments or fights or anything like that. It was pure pleasure and I think that comes across when you listen to it. The whole thing was recorded live in Jools’ studio, which is not a big studio. We had 18 people crammed in there, so all the solos were played live.Q: Was it freeing to perform songs from an era where songwriters were a separate entity?STEWART: I’ve always found songwriting a bit of an agony, really. It’s like going back to school. In fact, when I was in the Faces, they used to lock me in a hotel room with a bottle of wine and say, “You’re not coming out ’till it’s finished.” Because I was notorious. I wanted to go out and enjoy myself alone. I didn’t want to sit in a room and write lyrics and it’s always been a bit of like pulling teeth for me. The joy of this album, obviously, is I didn’t write any of the songs, I had a burning ambition to sing them and I picked the right guy.Q: Over the years, you’ve garnered a large female audience, when did you realize that was happening?STEWART: Probably right after “Maggie May,” I think. No, with the Faces, without a doubt because it was a good-looking-band, the Faces. I didn’t think any of us were good looking, quite honestly. I still don’t. But we did have some magical appeal to women. It was great fun. You should have been there. (Laughs)Q: Did your health scare a few years back change anything?STEWART: It’s all part of getting older. My thoughts at the moment are with our king who’s got some sort of cancer. But I’ve made a promise to myself since I was really young. I’ve always played soccer, and I still do. I play with my kids as well. I keep myself really fit. I work out a bit. I’m mad about nutrition, watching my weight and everything. So I do work at it, and I think that helps a lot. And do your due diligence. You know, men are notorious for not wanting to go to the doctors. You should.Q: That sounds pragmatic. Do you have any worries about staying healthy?STEWART: I’m not obsessed by it. I mean, none of us want to pass on. You do think about that as you get older, but not in a morbid way. I’m not frightened of dying, but I’m just enjoying myself so much. I feel absolutely privileged to be doing what I’m doing.Q: There was talk a few years ago about a country record. Any truth to that?STEWART: I plan on doing it. We actually started it. We started making a country album. And I went off and made another solo album, but yeah, it’s in the pipeline. The record company would like me to do it. They don’t push me to do it. You know, there will come a time.Q: What is it about that music?STEWART: Once again. it’s what I grew up with. You know, not so much country music, but folk music. You know, the likes of Woody Guthrie and Ramblin’ Jack Elliott and Bob Dylan. Of course, I loved all that stuff. That’s all. That’s why I learned how to play guitar, because I wanted to sing the songs.Q: Is there an end in sight, do you see a point where you would retire?STEWART: Not really. I suppose, I mean it wouldn’t be for me to judge, but I imagine if people stop buying tickets for concerts and don’t buy records anymore maybe that’s a sign. I don’t know. The word retirement is not in my vocabulary at the moment because I’m enjoying myself.

    NEW YORK —

    Sir Rod Stewart will not be slowed.

    At 79, he continues full-throttle with a busy year. Highlights in 2024 include his 200th show at his Las Vegas residency, an ongoing world tour and a new swing album.

    “Swing Fever” is a collaboration with Jools Holland and the talk show host-musician’s Rhythm & Blues Orchestra and tackles some timeless tunes from the Big Band era, like “Pennies From Heaven,” “Lullaby of Broadway” and “Sentimental Journey.”

    No stranger to the American songbook, Stewart had one request for Holland: “I’m not going to do any slow songs,” Stewart said. “I want all upbeat happy song, which we need in these grim times that we live in.”

    Related video above: Sir Rod Stewart sells music rights for almost $100 million

    Stewart expressed gratitude singing songs crafted at a time when a songwriter was a specific job, before bands wrote their own.

    Holland, who began his career with the 1980s band, Squeeze, joked on how the paradigm shifted.

    “I think the Beatles were to blame. I think everybody thought they could write songs after that. So bands always kept doing it,” Holland said.

    Stewart, who has written his share of hits, was happy to concentrate on crooning.

    Stewart was recently in New York, and before heading off to a downtown pub to watch his beloved Celtic soccer team take on rivals Hibernian, he took some time to chat with The Associated Press about making music, maintaining his health and whether there’s retirement in his future.

    Q: What was the appeal of going back to these tunes?

    STEWART: They make you tap your feet. They make you smile. Both of us (Holland) were brought up on this music. I did “The Great American Songbook,” so for me this was a natural progression. And one thing I said to Jools was, I’m not going to do any slow songs, I want all upbeat, happy (claps his hands) which we need in these grim times that we live in.

    Q: What was it like doing this record?

    STEWART: I love the whole process of doing live shows. I love recording. I loved when we put this album together. It was such a joy. We didn’t have any arguments or fights or anything like that. It was pure pleasure and I think that comes across when you listen to it. The whole thing was recorded live in Jools’ studio, which is not a big studio. We had 18 people crammed in there, so all the solos were played live.

    Q: Was it freeing to perform songs from an era where songwriters were a separate entity?

    STEWART: I’ve always found songwriting a bit of an agony, really. It’s like going back to school. In fact, when I was in the Faces, they used to lock me in a hotel room with a bottle of wine and say, “You’re not coming out ’till it’s finished.” Because I was notorious. I wanted to go out and enjoy myself alone. I didn’t want to sit in a room and write lyrics and it’s always been a bit of like pulling teeth for me. The joy of this album, obviously, is I didn’t write any of the songs, I had a burning ambition to sing them and I picked the right guy.

    Q: Over the years, you’ve garnered a large female audience, when did you realize that was happening?

    STEWART: Probably right after “Maggie May,” I think. No, with the Faces, without a doubt because it was a good-looking-band, the Faces. I didn’t think any of us were good looking, quite honestly. I still don’t. But we did have some magical appeal to women. It was great fun. You should have been there. (Laughs)

    Q: Did your health scare a few years back change anything?

    STEWART: It’s all part of getting older. My thoughts at the moment are with our king who’s got some sort of cancer. But I’ve made a promise to myself since I was really young. I’ve always played soccer, and I still do. I play with my kids as well. I keep myself really fit. I work out a bit. I’m mad about nutrition, watching my weight and everything. So I do work at it, and I think that helps a lot. And do your due diligence. You know, men are notorious for not wanting to go to the doctors. You should.

    Q: That sounds pragmatic. Do you have any worries about staying healthy?

    STEWART: I’m not obsessed by it. I mean, none of us want to pass on. You do think about that as you get older, but not in a morbid way. I’m not frightened of dying, but I’m just enjoying myself so much. I feel absolutely privileged to be doing what I’m doing.

    Q: There was talk a few years ago about a country record. Any truth to that?

    STEWART: I plan on doing it. We actually started it. We started making a country album. And I went off and made another solo album, but yeah, it’s in the pipeline. The record company would like me to do it. They don’t push me to do it. You know, there will come a time.

    Q: What is it about that music?

    STEWART: Once again. it’s what I grew up with. You know, not so much country music, but folk music. You know, the likes of Woody Guthrie and Ramblin’ Jack Elliott and Bob Dylan. Of course, I loved all that stuff. That’s all. That’s why I learned how to play guitar, because I wanted to sing the songs.

    Q: Is there an end in sight, do you see a point where you would retire?

    STEWART: Not really. I suppose, I mean it wouldn’t be for me to judge, but I imagine if people stop buying tickets for concerts and don’t buy records anymore maybe that’s a sign. I don’t know. The word retirement is not in my vocabulary at the moment because I’m enjoying myself.

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  • Francesca and Martin Scorsese Bring Their Viral Father-Daughter Act to the Super Bowl

    Francesca and Martin Scorsese Bring Their Viral Father-Daughter Act to the Super Bowl

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    “It’s basically not real if it’s not on the internet,” Francesca Scorsese tells her father, Martin, in a newly released teaser for the Oscar winner’s upcoming Super Bowl ad. It’s a fitting sentiment for the pair, whose viral TikToks have both boosted the icon’s profile among the younger generation and introduced the world to his 24-year-old daughter, an aspiring filmmaker.

    The elder Scorsese helms his first Super Bowl ad for Squarespace, a teaser which features the director learning how to create a website with Francesca, who serves as the commercial’s behind-the-scenes creative director. In the teaser, which can be seen below, the father and daughter mimic the banter found in their popular TikTok and Instagram videos, which contain artful trolling of Marvel movies and a fan cam clip where Francesca calls Martin a “certified silly goose.”

    At one point, Martin quips, “This website slaps, kid, doesn’t it?—a direct callback to Francesca explaining Gen Z slang terms to him. Although she jokingly replies, “I really regret ever teaching you that,” the Tisch graduate says that neither of them plan on pausing their partnership—including in more TikToks. “He tells people that I pull him into them, but actually, it’s the other way around,” Francesca tells Vanity Fair.

    The younger Scorsese, who only recently saw her brief role in her father’s film The Aviator for the first time, insists she “leans more toward darker themes” in her own work. Francesca was the behind-the-scenes creative director on Scorsese’s 2023 Bleu de Chanel commercial featuring Timothée Chalamet, and at the 2023 Cannes Film Festival, both father and daughter debuted projects. Scorsese’s was the Oscar-nominated Killers of the Flower Moon, while Francesca’s was her latest short, titled Fish Out of Water. In between work on an A24 book she’s writing with her father and a short film inspired by her mother Helen Morris’s childhood, Francesca spoke to VF about growing up Scorsese, attending the Oscars, and embracing the nepo-baby label.

    Vanity Fair: In the Super Bowl ad teaser, you joke about regretting teaching your dad what “slaps” means. Do you have any remorse about introducing him to some of the more Gen-Z stuff, like Letterboxd or TikTok?

    Francesca Scorsese: Oh, my God, I don’t have any regrets. Honestly, sometimes, he’ll like….Oh God. Sometimes, he will use Gen-Z slang because he’s heard it, and it’s the funniest thing to me. I feel like hearing your dad say, “Oh yeah, that slaps,” or, “I’m so woke,” or whatever, it’s just so cringy to me. It just makes me crack up. He is from a different generation, so it’s a little—I wouldn’t say embarrassing to hear him say it, but it’s funny because it feels like he is really trying to stay current with my generation and with me.



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    Savannah Walsh

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  • The Deceptively Cozy Joys of Julia Child and Max’s ‘Julia’

    The Deceptively Cozy Joys of Julia Child and Max’s ‘Julia’

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    Before the feminist movement really began to develop its momentum, there was a moment where Julia wasn’t certain who she was going to be, where she wasn’t always a champion of the right things. If we go into a third season—and we hope we will—I’m sure it’ll be complicated for all of the characters on our show, but WGBH itself is going to really start to change much more quickly. And everyone’s going to have to either get on board, or be left behind.

    Sarah Lancashire and David Hyde Pierce in season two of ‘Julia.’©Seacia Pavao

    I find it puzzling when people refer to the show as a “comfort watch,” because that sometimes feels at odds with what’s actually going on. This season deals with issues of equality, of access to contraception. In the finale, characters are working to thwart the FBI! How does the “cozy” moniker sit with you?

    Goldfarb: I attribute it to the marriage, actually. There’s something about Julia and Paul’s love of each other and lust for each other that I think is very aspirational. And the food. But there’s something about them that I think makes people feel warm. There’s conflict in the marriage. The whole first season she had this big secret, and now in the second season starting with episode four, she has a secret again. But she’s keeping the secret to protect him, and then ultimately the secret comes out, and they get even closer. So I think that’s why people think the show is cozy and warm and kind.

    But I agree with you. Episode five, where Paul’s twin brother comes, that’s an example of Julia in all her contradictions. She lies about the origins of the show and when Alice calls her on it, she says, “My brand is honesty,” when she’s just made something up. So we love leaning into Julia as an amazing, complicated, three-dimensional woman. So thank you for saying it’s not just cozy.

    Keyser: We are very committed to the idea that the whole thing feels light as a feather, that it lands with weight, but you are not noticing because it has a breezy quality. The kind of person that Julia surrounded herself with is full of optimism about the idea that tomorrow could be better than today. They’re all open to the possibilities of life, even when it’s difficult.

    If there’s anything that Daniel and I in the writers’ room focus on all the time, it’s how do you tell a potentially dramatic story, but—not to keep mixing metaphors—that on the inside just feels like a soufflé.

    This interview has been edited and condensed.

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    Savannah Walsh

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  • Julia Child’s Dishes Shouldn’t Look Like Food Porn

    Julia Child’s Dishes Shouldn’t Look Like Food Porn

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    Christine Tobin can still taste Julia Child’s Duck a l’Orange—or at least the recipe as made by her father, a French Chef devotee whose Sundays were often reserved for cooking Child’s creations. “He would stand in line to get her autograph on a cookbook, which I still have,” she tells Vanity Fair.

    Tobin grew up in the town of Holliston, located about an hour from the Boston studio where Child filmed her PBS series. “I grew up with Julia on the television every weekend, with parents who really enjoyed food and community,” she says. “Being on a dead-end street in a town with no restaurants, they took to cooking at home for their own sense of enjoyment. They started a group called The Gourmet Club on Pinecrest Road, and every month, they’d get together and cook from various parts of the world.” On Saturdays, Child’s show would air following The Joy of Painting with Bob Ross. “I received my early childhood education between the two of them.”

    Tobin has amassed an impressive list of films and TV show credits, styling food on Oscar-nominated productions including American Hustle, Little Women, and Don’t Look Up. But it wasn’t until her thirties that she landed the ultimate gig: food stylist on Max’s Julia, which stars Sarah Lancashire as the beloved chef. “Everything just made sense when I landed Julia,” Tobin says on a recent Zoom. There’s only one other current show that can compare: “The Bear. Come on, like C-O-M-E on! You can quote me,” Tobin says of the series, which features work by culinary producer Courtney Storer and executive producer/real-life chef Matty Matheson. “It’s a masterpiece.”

    In an early episode of Julia season two, which is now streaming Thursdays on Max, Child proclaims: “If you want to get to know a person, take them out to dinner and watch them eat.” Ahead, a conversation with the woman in charge of setting the table—from her fear of angering French chefs to the famous projects in which she’s cameoed.

    Vanity Fair: Julia’s second season has a meta quality, with Julia facing the pressures of making a second season of The French Chef and a new edition of her cookbook. Did you feel those same feelings? What did you learn on the first season that you were eager to build upon?

    Christine Tobin: Well, first off, we went immediately on location to France for seven weeks. So I was lucky to have the first season to prep for that. We were lucky to have a lot of the same crew members return for season two. The longer you get to work together in episodic, those bonds between departments and people really strengthen and grow.

    Season two I found more ambitious in the food. There isn’t just one person cooking on set, it’s multiples. And so with that comes a lot of planning. While I was in France, I had an assistant here in Boston, Carolyn White, who handled that second unit. I think we only had a week in between landing and starting up again. It just went super smooth, honestly. It’s shocking. I think that comes from working with food professionals and being instinctual about what is to be expected.

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    Savannah Walsh

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  • 21-Year-Old World Series Champ Evan Carter is Still Floating

    21-Year-Old World Series Champ Evan Carter is Still Floating

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    Your early twenties can be a difficult and fraught period. You’re coming into your own as a semi-formed person, trying to decide who you are and what you want to be, probably subsisting on gnarly combinations of fast food and cheap beer. Unless, that is, you’re Texas Rangers’ left fielder Evan Carter, in which case you just won the World Series!

    Carter turned 21 in late August, only a handful of days before he got the phone call every minor-league baseball player dreams of. When he debuted for the Rangers on September 8, the team was in the thick of a pennant race, trying to ward off several challengers and secure a spot in the postseason. You could say they accomplished that goal—and then some. The Rangers squeaked into the playoffs during the final days of the regular season, then went supernova. Texas won each of its first seven postseason games—sweeping the Tampa Bay Rays and Baltimore Orioles in the early rounds—on the way to the first World Series title in franchise history. Hard-fought series against the Astros (to win the American League pennant) and Diamondbacks (to win the whole thing) stood in their way, but the resilient Rangers were up to the task.

    A fixture of their fairy-tale run, Carter—who was playing for the Frisco RoughRiders in Double-A just 68 days ago—was spectacular. The young buck batted .300 with nine doubles across 17 playoff games, proving he was worthy of his meteoric, late-season rise through the minors. Mere minutes before joining the Rangers’ victory parade, Carter spoke to GQ about finding glory so early in his career.

    Carter (legally!) enjoys some bubbly after the Rangers knocked off the Astros in the ALCS

    Bailey Orr/Texas Rangers/Getty Images

    Have you come back to earth yet?

    I would say I’m still floating. Out of our window right now we can see all the parade people lining up. This is really fun. We’re at the field, so it still kind of feels like, I gotta go get ready to play! Once we settle in for the offseason it’ll be like, Oh my gosh! What did we just do?

    Has the permanence set in? Like, No matter what happens in my life, I’ll always be on the first Texas Rangers team to win a World Series?

    Man, yeah, it’s awesome! At the end of my career, that’s going to be one of the coolest moments. First one in Rangers history! This was an unbelievable experience.

    I want to go back to March, when you were in spring training and you got sent to minor-league camp. Were you expecting to make the big-league team out of camp, or was this the plan the whole time?

    I wasn’t expecting to make the team. That was more of an opportunity to get in front of the coaching staff and everybody—your future teammates, you hope—and veterans of the game. I was realistic. I had played a week in Double-A [at that point], so I was like, I’m not here to make the team. But it was definitely a valuable experience to be a part of a big-league camp.

    I wasn’t there to not compete, though. I showed up and did the best I could. I tried to show them that I thought I was ready. At all times, I do think I’m ready. At the same time, there were a lot of steps through the minor leagues that I hadn’t really done yet.

    When you did get called up, your goals had to immediately shift from just trying to make the big leagues to literally trying to win the World Series! What was that mental whiplash like?

    The goal of every minor leaguer is to get called up. When you do get called up, it’s awesome. But you know, we’re here to win. We’re not here just to get called up! We were in a race with the Astros and Mariners there at the very end. Every win counts. All of a sudden, you get thrown into the playoffs! Each week has been bigger than the last one. It’s crazy.

    I think it kind of worked out in my favor. There was no real time to sit back and think. That was probably for the better. Alright, regular season is over. It’s on to the playoffs. On to the next, on to the next. Nerves didn’t really have time to creep in. Expectations didn’t really have time to creep in. All these things that you would expect in your first big-league season never really showed up, because everything was moving so quickly, you know? Everybody around me, too, was so great. Having confidence in me—my teammates and Boch [manager Bruce Bochy] alike—they all encouraged me. It was really good.

    So for you, it’s better to not think?

    The more I think, the worse I am at baseball.

    For you personally, what was the biggest difference you saw in the pitching from the minor leagues to the major leagues?

    Gosh, everybody has amazing stuff, and at the same time, they’re better at controlling that stuff. They’re going to live on the edges—we saw that against [Diamondbacks’ pitcher] Merrill Kelly in the second game. He just lived on the edge of the zone, and there’s nothing you can really do as a hitter. I experienced that a whole lot more. In the minors, sometimes you get the starter out and it’s like, Alright, sweet! We’re in the bullpen. The guys coming in might not necessarily be as good as the starter. In the big leagues, you get into the pen and sometimes they’re even better than the starter! There’s no real break, I would say. Everybody is there for a reason. You gotta be locked in at all times because they are, too.

    Right, sometimes it’s just, “Well, I can’t do anything with that.” Who were the big league pitchers that made you feel that way?

    There were a lot, but the one that stood out to me was [Tyler] Glasnow when we played the Rays. He was…his slider was the best slider I’ve ever seen. Then obviously he’s throwing 99 on top of that. He’s really, really good. It’s a funky motion and the stuff is electric. Everything about it is just…different.

    You spent most of the season in Double-A, but before getting called up to the bigs, you spent about a week in Triple-A. Did you even have time to get to know your teammates there?

    I knew some people from spring training and stuff. I’d been around them and played with them. Triple-A is weird. They’re always bringing in new pitchers because lineups always change in the big leagues. So, there were definitely some guys I was not familiar with. But as far as the position players, I knew a lot of them. They were guys I came up with.

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    Matthew Roberson

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  • Danny DeVito Has Never Heard the Term “Short King”

    Danny DeVito Has Never Heard the Term “Short King”

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    GQ: What’s your working relationship like with your daughter?

    Danny DeVito: The family is very Italian, Jewish. It was this really cool mix, Rhea and me. And so that filtered into Lucy and Gracie and Jake, and we all talk about everything and we have a good time with each other.

    One of my favorite moments with Lucy was when she was just a baby. I was directing this movie. I was doing one shot over and over again. It was pushing this woman who had a little monologue on a divan. And I’d say, “Cut!” I did it about six or seven times. The last take, Lucy said, “Cut!” It was the cutest thing. Actually, that’s the take that’s in the movie.

    You’re great together onstage, too.

    We have a good time. She gives me the business.

    Do you relate to Sam at all? Are you a hoarder?

    I started being much more conscious about it, because I do collect. I’ve only been here for a couple of weeks and there’s a lot of stuff in this room. My apartment in New York, it’s just full of pictures and knickknacks and stuff that I pick up.

    What’s your most prized possession?

    Oh, gosh. I have so many. So many nice things, and memories of a shirt that I wore in 1960-something. I always take something—shirts, pants, shoes, a hat from a movie I’ve done.

    Do you have any opening night rituals?

    No. I’m looking forward to it, though. I always come early. I have a trampoline. I don’t know if you can see it, over there.

    Is the trampoline for exercise or fun?

    I start every night with it to get myself going. I guess you would call it exercise, but it’s like getting ready to go out.

    Do you feel like you’re getting back to your roots by doing theater again?

    Yeah. I just love it. I went to the American Academy of Dramatic Arts and did all the theater. Even if you’re off-Broadway, the audience is part of the whole mix. You go to California, and it’s quiet on set. You tell a joke, they’re paid to not say anything. I did a couple of movies, like Cuckoo’s Nest. And then I got Taxi in 1978—now, here’s the great thing about that show. First of all, the people, I love them dearly. We’re still friends, all of them. It’s like a family.

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    Gabriella Paiella

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  • “I Don’t Want to Quit, Because I See What Happens:” Taylor Lorenz Still Believes in the Internet

    “I Don’t Want to Quit, Because I See What Happens:” Taylor Lorenz Still Believes in the Internet

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    It began, as much does online, innocently enough. There was a photography blog. A personal blog. A bagel Tumblr, where you could submit pictures of your breakfast every morning. Instagram accounts dedicated to all things Kate Middleton and baby Prince George. One blog devoted entirely to E.B. White. “So embarrassing…I had a lot of single-serving viral garbage Tumblrs,” Taylor Lorenz recalls of her earliest forays into blogging, back when she managed all those pages for the reason anyone did anything on the early ’00s internet: for fun, but also for the thrill of that still-nascent jolt of virality.

    Two decades later, the promise of viral fame has completely redrawn our incentives for much of modern life. As a new economy of creators and influencers reshape our most everyday anxieties and aspirations, Lorenz has since become one of the foremost chroniclers of this new algorithmic American dream. Through her work at The Daily Beast, The Atlantic, The New York Times, and now at The Washington Post, the tech journalist has become a go-to authority on explaining internet culture—with all of its unintelligible usernames, hype houses, and unsung (as well as unsavory) main characters—to the mainstream.

    Perhaps it was inevitable, then, that Lorenz would become a public figure in her own right. In drawing the attention and ire of stodgy Silicon Valleyites, rabid online fandoms, conservative culture war crusaders, alt-right trolls, and old-fashioned media institutions, Lorenz’s own brand has become recognizable. Dangerous too—in a recent essay, Lorenz wrote about being on the receiving end of death threats, rape threats, doxxing, swatting, smear campaigns, a stalker, and all manner of online abuse over the past few years of her career.

    “My whole beat is writing about people with millions of followers, and massive media companies,” as Lorenz put it to me on the phone from a stop in San Francisco, where she’s been touring with her new book, Extremely Online: The Untold Story of Fame, Influence, and Power on the Internet. Which is to say: If Lorenz’s internet culture beat was only ever about a handful of selfie-obsessed internet addicts with no real power, this line of work would be far less threatening.

    In conversation with Vanity Fair, Lorenz talks about the toll of covering the last decade of the internet—and her sense of responsibility for shaping the next.

    This conversation has been edited and condensed for clarity.

    Vanity Fair: You’ve made quite the career out of covering online creators—these masters of self promotion. Have their tactics influenced the way you’ve handled promoting this book?

    Taylor Lorenz: Well, I started on Tumblr as a blogger and a content creator, and then I worked in viral marketing. So before journalism, that’s sort of where my roots lie.

    There’s a lot that I’ve learned. One is just how archaic the publishing industry is. I was asking for advice on book covers and color schemes, but it’s really a business of throwing spaghetti against the wall and seeing what sticks. So I had my audience vote on the cover and the subtitle, all these different aspects of the book so they would feel connected to it.

    This is so funny because I’m saying this in a traditional media interview, but this doesn’t sell. Traditional media has value for perception of prestige. But in terms of sales, I found that podcasts were the thing that really converted most effectively; I sold 600 books from replying to an Elon Musk tweet about me. Little things like, where you can leverage viral moments where you’re being talked about. I did a whole Dave Portnoy interview that Dave did not release, I think because he thinks he looks bad in it, but I’m a very open book and will happily engage with controversy if it will get me book sales. If there’s ever a time to engage with people I might not normally, now would be the time. [Editor’s note: Lorenz and Portnoy have a contentious history. Vanity Fair has reached out to a representative for Portnoy for comment.]

    When you left The New York Times early last year, you said you were frustrated with the way legacy newsrooms struggle with the reality of how journalists like you can now cultivate huge followings. There’s been that ongoing “should journalists be brands” debate. Do you think of yourself as a brand?

    This is such a silly debate. It makes me laugh every time, because the notion that famous journalists and writers—Barbara Walters, Anderson Cooper, Woodward and Bernstein, David Grann, Patrick Radden Keefe, Tom Wolfe—don’t have brands is absurd. The relationship between journalistic talent and their media organizations, that’s always been at this point of contention.

    The thing that’s changed, and I think what people don’t understand, is that it’s the same thing that’s happened in traditional celebrities, where now you don’t just have to be that top one percent to receive attention. Fame has been democratized. A lot of the backlash around my work is because people conflate me with what I cover, and I totally get why. I did not start as a journalist. I started as more of an internet personality, which is increasingly how more and more journalists are getting their start.

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    Delia Cai

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  • ‘Nyad’ Is a Love Story

    ‘Nyad’ Is a Love Story

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    “I don’t think I need to say all of this,” Jodie Foster reportedly said while rehearsing a scene on the set of Nyad. The film stars Foster as Bonnie Stoll, best friend and coach to Annette Bening’s Diana Nyad. Stoll provided crucial support to Nyad on her mission to swim from Cuba to Florida at the age of 64. “Jodie was very good about policing my wordiness,” the film’s screenwriter, Julia Cox, tells Vanity Fair now. When Cox expressed worries about making the proposed cuts, she says Foster replied, “I won’t say it, but I will think it.”

    The scene ultimately didn’t make the final cut of the film, directed by Academy Award–winning documentarians Elizabeth Chai Vasarhelyi and Jimmy Chin. But another of Foster’s suggestions did: a climactic moment when Bonnie dives into the water alongside Diana during her fifth and final attempt at the record-breaking swim. It took the marathon swimmer nearly four decades to fulfill her long-held dream. Cox knows how that feels: She’s spent almost a decade herself thinking about Nyad’s story. “I heard about Diana Nyad’s story when she finally made it to the Florida shore—spoiler alert,” she says. “There was a beautiful profile of her in The New Yorker. And I remember thinking, This would be a great movie.”

    Ahead, Cox dives into her feature film debut—from spending time with the real-life Diana and Bonnie to addressing controversy surrounding Nyad’s swim.

    Vanity Fair: What was it about Diana’s story that most fascinated you?

    Julia Cox: It is this incredible adventure full of thrills and details that were so strange you couldn’t make them up, from the jellyfish to the particulars of how she completes this swim to what the mind goes through on these long swims. But what really spoke to me as a writer was the potential to do a really interesting character portrait of a woman who is ferociously self-confident, who is complicated, who is charismatic and larger than life and almost has a life force that’s outsized for this world. Who pulls us out of bed and onto an adventure and pushes us forward in life.

    And then also this relationship between Diana and her best friend and coach Bonnie. They’re so interesting because they’re opposites, and yet peas in a pod. They share this drive as athletes. Being able to tell a story about a lived-in, grownup friendship among two women that has its ins and outs, has its points of conflict, but is also built on this unconditional love and this deep knowing of the other person in your bones—that felt as exciting as any of the thrilling elements of the story.

    The film toes this line between being a classic sports biopic and feeling really fresh, given who our hero is and the singularity of what she accomplished. Were there any sports biopics that you looked to for inspiration, or tropes that you wanted to avoid in writing your own?

    I watched everything from Chariots of Fire to The Wrestler, from conventional to highly unconventional. And the way that I was able to crack it in my mind was to focus on the relationship, almost the way you would structure a love story.

    Jodie Foster as Bonnie Stoll and Annette Bening as Diana Nyad in ‘Nyad.’Kimberley French/Netflix

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    Savannah Walsh

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  • Terrell Suggs Still Doesn’t Like the Steelers

    Terrell Suggs Still Doesn’t Like the Steelers

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    For really the entire 21st century, there has not been a force in professional football quite like the Baltimore Ravens. Since the 2000 season, only the Patriots have won more Super Bowls, and while the Pats built their franchise around a golden boy quarterback, the Ravens have always been about defense. Terrell Suggs was a pillar of that defense for 16 sizzling years. He joined the squad as a first-round pick in 2003, and by the time he left Baltimore in 2019, his resume included a Defensive Player of the Year award, seven Pro Bowls, the franchise sack record, and a 2012 Super Bowl ring he won just months after tearing his Achilles.

    Nowadays, he’s mostly chilling at home in Phoenix. His daughter spends her summers playing for Team Durant and Suggs, who was always one of the scariest dudes on the field, promises he’s not one of those sports parents who’s always yelling at the refs. That gridiron intensity is what made him so beloved in Baltimore, though, and this weekend he will officially become one of the city’s immortals. At halftime of the Ravens’ game against the Lions, all eyes will be on T-Sizzle as his name is added to the Ring of Honor at M&T Bank Stadium. Ahead of the ceremony, Suggs gave us a call.

    Are you not entertained?

    Patrick Smith/Getty Images

    How did you get the news that you were being inducted into the Ring of Honor?

    It was a phone call out of the blue. They was like, “Yeah, um, we just want you to know that we’re going to induct you in the Ring of Honor this year.” I was like, for real? I’m one of those guys that was really humble, you know what I mean? I didn’t expect that call to come. It’s one of those things you hope for, but you’re not really sitting around waiting on a phone call saying you’ll get inducted. Fortunately, mine’s is coming up.

    This was never something you thought about when you were playing?

    Not at all. As Ravens, we never played for those kinds of accolades or achievements. We played for each other, loved the game, and loved what we were doing. It all just happened to pan out this way. I’m fortunate enough to be branded a Raven for life.

    You just never know. You never know who makes those decisions or what they’re thinking or what goes into it. You don’t know! With something that’s not in your hands, you don’t really want to have your mind occupied with it. It was more like, okay! I guess that’s pretty awesome!

    What are your favorite memories from M&T Bank Stadium? You’re going to be part of it forever now!

    Definitely our battles against the Steelers. Opening day 2011, after they had just knocked us out of the playoffs, that would be my second favorite. But my first is Ray Lewis’ last ride, when we went on the Super Bowl run, when we all came out the tunnel for the last time with each other. That was a playoff game against the Colts.

    Did you actually hate the players on the Steelers, or did you just hate them because they were the Steelers and you were the Ravens?

    It went hand-in-hand, especially with guys like Hines Ward and James Harrison. We didn’t like them. It wasn’t a hate, like if we saw them on the street we weren’t going to get in a brawl. Nah, it wasn’t that kind of hate. It was a football rivalry. Their flag vs. our flag kind of thing.

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    Matthew Roberson

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  • How ‘Practical Magic’ Pissed Off a Real-Life Witch

    How ‘Practical Magic’ Pissed Off a Real-Life Witch

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    Practical Magic, a heady blend of ’90s romantic comedy, domestic violence horror, and supernatural trickery, is perhaps best encapsulated by a single moment: “You have the worst taste in men,” Sandra Bullock’s Sally groans as she helps her sister, Gillian (Nicole Kidman), bury the evil ex they’ve killed in the backyard of their magical mansion.

    Twenty-five years after the film’s release, its synopsis remains spellbindingly dense. Bullock and Kidman play sisters bound by a curse that befalls any man who falls in love with a woman in their family. After their father perishes and their mother dies of a broken heart, the sisters are raised in an enviable cliffside estate by their wonderfully wicked aunts (Stockard Channing and Dianne Wiest, in roles originally envisioned for Vanessa Redgrave and Julie Christie). Sally vows to never fall in love, while Gillian flings herself toward romance.

    The sisters spend several years apart—Sally marries and has two children (Evan Rachel Wood and Alexandra Artrip) with a man (Mark Feuerstein) whose demise arrives as predicted, and Gillian gets entangled with her abusive boyfriend, Jimmy (Goran Visnjic). The pair kill Jimmy after he attempts to kidnap them, but his spirit lingers, requiring a full-on exorcism. Oh, and things are further complicated by the investigation into Jimmy’s murder by Aidan Quinn’s Gary Hallet, whom Sally discovers she’s falling in love with.

    Suffice it to say, the movie is a lot. “I remember Bob Daly, who was co-CEO of Warner Brothers—at our premiere, he sat one row in front [of me],” the film’s director, Griffin Dunne, tells Vanity Fair. “After a very lighthearted scene with girls giggling and being hilarious, [we were] having them dig up a body from a rose bush and stick needles in its eyes. He turned to the person next to him and went, ‘I wish the kid would just pick a tone.’”

    Critics tended to agree. Despite opening at number one, the film, adapted from Alice Hoffman’s 1995 novel with a screenplay by Robin Swicord, Akiva Goldsman, and Adam Brooks, was deemed “too scary for children and too childish for adults,” by the likes of Roger Ebert. Entertainment Weekly called it “a witch comedy so slapdash, plodding, and muddled it seems to have had a hex put on it.”

    Dunne, son of longtime VF contributor Dominick Dunne and an actor best known for 1985’s After Hours, never helmed another studio film. But in the decades since its release, Practical Magic has morphed into a cult classic, beloved particularly by women for its enviable soundtrack (Faith Hill’s “This Kiss”! Joni Mitchell’s “A Case of You,”! Two original Stevie Nicks tracks!) and themes of sisterhood. “Dealing with several different tones in the same film is not that unusual anymore,” says Dunne. “When I did American Werewolf in London, it was the same reaction. People were really upset that there were laughs in a horror movie. Now you can’t make a horror movie without getting laughs.”

    Fervor around the film gets particularly heightened around Halloween, Dunne says. “A little name-drop here, just two nights ago I was in my local restaurant in the Hudson Valley. Paul Rudd is one of my neighbors, and he came over and said, ‘My son’s girlfriend is obsessed with the movie. Can I bring her over? She wants to just talk to you about it.’ She joined our table and asked me the same questions you’re asking—just devoured every tiny detail about it. That was enormously satisfying.”

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    Savannah Walsh

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  • Jhumpa Lahiri Lets Meaning Find Her

    Jhumpa Lahiri Lets Meaning Find Her

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    “I see very little when I’m writing,” Jhumpa Lahiri tells me. We’re speaking over Zoom. In her square on the screen it’s 5 p.m., and a warm July light filters into the Rome apartment where she has lived on and off for just over a decade. Over the course of our conversation, a light breeze sometimes lifts her long hair; she is serious, with a precise attention to her language, occasionally circling back to revise a word and then explaining her reason for the edit. “I mean, I’m kind of right up against it and I don’t understand what I’m doing most of the time. I don’t have a sense of what it’s supposed to mean.”

    Take “The Steps,” from her new collection, Roman Stories (Knopf). Arriving in the middle of the book, it follows a number of characters who use the same set of outdoor stairs each day—each has their own section entitled by their descriptor: the expat wife, the mother, the girl, the screenwriter—inspired by, Lahiri says, “a staircase that I live next to.” Not a famous staircase, but a significant one in that it connects the class-shifting, sprawling neighborhood of Trastevere, below, with Monteverde Vecchio, full of early 20th-century villas and the American University of Rome, above. “The staircase is an uneven gray, but in the middle there’s a colorful section—faded by now—of alternating red and yellow, to commemorate the important victory of a beloved soccer team. Here and there, trapped in porous stone, tiny lakes of moss and weeds,” she writes.

    “It’s part of my quotidian consciousness and an amazing open theater, if you will,” says Lahiri. After we finish speaking, she plans to meet a friend at the bottom of the steps before they go see Barbie. “And then as a writer, I was always observing the variety of life, lives, ages, experiences, perspectives, and it felt to me just so blooming with stories.”

    She started writing the story not long after she baffled friends and members of the American literary community by not only moving her family to Rome, but abandoning English—the language in which she won the Pulitzer Prize for her 1999 debut story collection, Interpreter of Maladies—in favor of Italian. (Since 2015, Lahiri has written and published first in Italian and then, doing most of the translations herself, in English, a process she wrote about at length in Translating Myself and Others. She translated Roman Stories with Todd Portnowitz.) “The Steps” began as a vignette about a mother working as a child’s caretaker while separated from her own children. “It was,” Lahiri says, “one of the first very short stories I wrote in Italian.” After setting it aside for nearly a decade, she returned to it in the summer of 2020. She had been back in America teaching creative writing at Princeton University when the pandemic put a temporary end to her freedom of movement; when she and her family were able to return to Rome, a mandatory two-week quarantine in their apartment brought greater significance to the steps, which became their primary point of contact with the outside world: Friends stood on them and passed her a newspaper; she’d call up a produce seller from the nearby piazza who would deliver lettuce, potatoes, and fruit in a bag handed over their gate. For entertainment, Lahiri would watch people go up and down. “I had the idea of representing a day in the life of this staircase.” It was only after she finished writing it that she began to see themes emerging from her accumulation of images: the upstairs-downstairs class polarity, the way the steps encouraged communion and detachment.

    Much of Lahiri’s work explores these tensions of belonging and dislocation, of connection and separation: Interpreter of Maladies (which a New York Times headline on a Michiko Kakutani book review described as “Liking America, but Longing for India”), the 2003 novel The Namesake, and the 2008 story collection Unaccustomed Earth largely center on Bengali immigrants and their families making lives in the United States. Though Roman Stories, which takes place in and around Rome, also focuses on newcomers and so-called outsiders to Italy, Lahiri has stripped away names and nationalities. Characters refer to “foreigners,” “my country,” “their kids,” “they,” and “us.” There are instances of violence and xenophobia, but also tenderness. A couple visiting the city mourns the loss of their son, years earlier; a man entertains an infatuation with a near-stranger at an annual party; a family flees their racist neighbors; the teenage daughter of a vacation home caretaker observes a family on holiday. (Given all the family ties, it feels fitting that as we speak, first her husband and then her daughter appear from some unseen room, notice her on-camera conversation, and disappear again. The collection is dedicated to them, along with Lahiri’s son: “For Noor, Octavio, and Alberto: ten years later.”) The book’s apt and beautiful cover is an Ian Teh photograph of trees experiencing “crown shyness,” an adaptive phenomenon in which the leafy crowns, rather than touching to form a contiguous canopy, remain distanced so that when viewed from below seem separated by channels of sky.

    The final story, “Dante Alighieri,” was also the last story she completed in the collection. In it, a woman attends the funeral of her mother-in-law, and over the course of the service recalls a teenage romantic entanglement in America with a young man who wrote her a love letter, signing Dante as his name; the woman went on to become a scholar of the poet and build a life in Rome. “Dante was not one of the authors I ran to try to read when I felt that I was a competent reader in Italian,” Lahiri says. Instead, she waited until some preternatural sense told her she was ready—a kind of sure-footed wandering in the dark that to me seems similar to how she writes. Of her process, she says, “If it’s meant to mean something, it will mean something.”

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    Keziah Weir

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  • How ‘Only Murders in the Building’ Crafted the Ultimate Season 3 Cliffhanger

    How ‘Only Murders in the Building’ Crafted the Ultimate Season 3 Cliffhanger

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    This post contains spoilers about the season finale of Only Murders in the Building.

    “There are three types of people: alive, dead, and dead to me,” says Jackie Hoffman’s meddling neighbor Uma in the latest season of Only Murders in the Building.

    Her words eerily echo in the final moments of season three’s finale, in which Sazz Pataki, Charles’s former acting stand-in played by Jane Lynch, is shot within the Arconia’s walls. Murder is nothing new in this Manhattan apartment building, but given that the bullet was fired from across the courtyard, this killer might be close to home. As for Mabel (Selena Gomez), Oliver (Martin Short), and Charles (Steve Martin), whose apartment Sazz was standing in at the time of the murder—their podcasting days have landed them directly in the line of fire.

    All of that will be uncovered in the show’s fourth season, which was officially announced on Tuesday. Cocreator John Hoffman confirms to Vanity Fair that the Only Murders writers room reconvenes this upcoming Monday following the Writers Guild of America deal. Until then, we have season three to unpack.

    In the finale, it’s revealed that the death of Paul Rudd’s Ben Glenroy was orchestrated by a mother-and-son duo. But contrary to early season clues, the culprits are not leading lady Loretta (Meryl Streep) and her long-lost son, Dickie (Jeremy Shamos), with whom she reunites during the production. After obtaining an advance copy of a scathing review for Oliver’s play, Broadway producer Donna DeMeo (Linda Emond) poisons the show’s leading man in order to buy herself some time to retool. It’s her son, Cliff (Wesley Taylor), eager to prove himself as a first-time producer, who then commits the murder. Mother and son are escorted from Death Rattle Dazzle’s opening night in handcuffs, allowing our main trio only minutes to process their findings before another death blow is dealt.

    Hoffman chats with VF about the personal tragedy that inspired this season’s big reveal, and Lynch’s surprising reaction to news of her character’s demise.

    Vanity Fair: I want to start with the big reveal that Cliff killed Ben. In the second season, you worked backwards from the murderer’s identity in crafting the season. Did you take a similar approach in season 3?

    John Hoffman: Yes, we knew early. I’m a wreck of insecurity as a writer in a lot of ways. So I need the confidence to understand how to build these stories both logistically and narratively. Then we have to ask ourselves 4,000 questions: what have we done before? What’s new about it? Do we buy it? Blah, blah, blah. You go through all of these processes to land at all this.

    My mother passed away a year ago, so in the midst of writing this season, suddenly these tracks of motherhood and protection and mothers and sons became threads for the season. That felt where it was guided. So my insecurities and the confidence around that felt on the emotional level, like, oh, that’s interesting terrain for me right now to sort of process. And then the writers took over and did amazing things.

    Donna and Cliff being introduced in a fairly ridiculous way felt fun for the Broadway nature of where we were going, and then to deepen that through the season and find touchstone points where you got a little more dimension. Donna wasn’t looking to kill him. She was looking to pause for the play, and everything that followed from that she didn’t control, but then was taken up by her son. That’s all being threaded through with the Dickie and Loretta story, and the ridiculous Death Rattle Dazzle story. So all three of those weave [together] by the end of a season.

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    Savannah Walsh

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  • Mayim Bialik Just Wants to Talk

    Mayim Bialik Just Wants to Talk

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    Mayim Bialik has three decades of steady success on screens big and small, a neuroscience PhD, an adorable family with two teenaged boys, a sweet gig hosting Jeopardy! alongside Ken Jennings, and a hunky Canadian partner—both personal and professional—in Jonathan Cohen, with whom she makes her popular pandemic-born podcast, Mayim Bialik’s Breakdown. She is not, however, actually having a breakdown. (As the catchy theme song by Barenaked Ladies’ Ed Robertson goes, “She’s gonna break it down for you, ’cause you know she knows a thing or two.”)

    The podcast is what we’re talking about today since the 47-year-old Blossom and Big Bang Theory star is a strong supporter of the SAG-AFTRA and WGA strikes—last May, in fact, she was among the first celebrities to take an overt stand by declining to host Jeopardy’s new season until the writers got a fair deal. (Which they did, just this week.)

    The four-time Emmy nominee could have put her head down and feet up in the meantime, but instead, she’s doubled down on Breakdown. Bialik’s guests mostly fall into one of two camps: doctors, scientists, and psychologists discussing neurobiology, mindfulness, meditation, and mental health, or Hollywood types she’s invited for a casual chat about “where they are mental health wise.” As Bialik discloses her own anxieties and traumas, so too do her guests. Ricki Lake has dished on her menstrual cycle, Nikki Glaser on losing her virginity, and Chelsea Handler on repressed grief following her brother’s death. Hard science, new age wellness, and celebrity disclosures blend together to make a show that’s like eavesdropping on someone else’s therapy session.

    How does Bialik have the nerve to ask Dustin Hoffman about his distant father, or Ben Stiller about the struggles in his marriage? I called her up to discuss the unique perils of being a child actor, her fervent support of the SAG strike, and whether she ever gets starstruck.

    Vanity Fair: I’m a bit nervous to chat because of the SAG strike, which I know you’re a big supporter of, so please yell if I break a rule.

    Mayim Bialik: There’s a lot of complexity to this, but my general statement is always that I come from a union family. My grandparents were immigrants who worked in sweatshops, and my parents were public school teachers. While it’s not for me to personally judge anyone else’s decision, for me, I am a union supporter—pretty much all unions and what they fight for. I believe in that system even if it’s not perfect. I believe in getting educated about why people strike and what they’re striking for.

    Let’s talk about the podcast. Many of your guests are child stars—Jeanette McCurdy, Mara Wilson, Jodie Sweetin, Jenna von Oy. Is this your posse in real life, or are you particularly interested in that journey?

    Our initial goal was to have experts and specialists on the show. We started during Covid, when a lot of people were feeling a spike in things like anticipatory anxiety—the entire world, really, to some extent. We initially leaned on people in my circle, like Wil Wheaton, who really inspires me to be open about mental health challenges. We asked people if they’d talk to us about where they came from and where they are in terms of mental wellness. Lots of celebrities have come on the podcast and shared their struggles, which I don’t think they have because they live publicly but because living publicly tends to highlight or exacerbate the issues that we all deal with.

    It is hard to convince people to come on and spill their guts?

    So far, not really. We’ve had everyone from spiritual psychologist Matthew Singer to Matthew McConaughey to Ben Stiller. Leslie Jordan talked so openly about crystal meth and what it was like to come out as gay. One of the things we most hear people say is, “I’ve never told anyone this!” Maybe there’s something about the way Jonathan and I talk to people that makes them want to talk to us. We’re not trying to get dirt or be gossipy, but I think more and more people are realizing the more we talk about this, the better we’ll all be.

    Maybe you missed your calling as a therapist. Is there anyone you really want to get on the podcast but can’t?

    Hah, yes! I’ve been trying to get Weird Al. He says he doesn’t have anything to talk about, but my feeling is everyone has something. We’re very happy to talk to people just about their journey. To them, we say, we’re not looking to dredge up dirt or make anyone uncomfortable. But once we start talking, they are comfortable, so they trust us. When I’m vulnerable, when Jonathan’s vulnerable, people seem to open up. I’m not a therapist, but I’ve sure sat in a lot of therapist’s rooms.

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    Rosemary Counter

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  • Samantha Leach Explores the Inner Lives of Three Teenage Girls in The Elissas

    Samantha Leach Explores the Inner Lives of Three Teenage Girls in The Elissas

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    At the center of The Elissas: Three Girls, One Fate, and the Deadly Secrets of Suburbia, Bustle editor Samantha Leach’s gripping work of memoir and reportage, sits an indelible image and a grim coincidence. Three girls with nearly identical names, Elissa, Alissa, and Alyssa, met at a so-called “therapeutic” boarding school for teenagers and bonded over cheeky resilience in the face of what Leach describes as the school’s harsh tactics. To cement their friendship, all three got cryptic matching tattoos reading “Save Our Souls.” A decade later, all three women would die in tragic circumstances before the age of 27.

    When Leach first saw the tattoos, she looked at them with a bit of jealousy and disdain. Elissa was Leach’s childhood best friend, but they had begun to drift in their teen years. An early brush with rebellion put Leach back on the straight and narrow, but Elissa was sent to a series of boarding schools that were a part of what we would now call the troubled-teen industry. As Leach writes, at age 18, still dealing with the trauma she incurred at the schools, Elissa died after a bout of severe encephalitis.

    By 2019, Leach was living in New York City with the type of journalism job she had been dreaming about since she and Elissa were children flipping through magazines. But her friend’s tragic loss left a mark, and she started researching Elissa’s final years out of a desire to understand why their paths had diverged so profoundly.

    “It really started from a place of grief and a place of deep curiosity and not wanting to let go. It’s a very strange thing to lose years with somebody and then immediately lose them altogether,” Leach explained over a lemonade at a café near her apartment this summer. When Elissa was away, occasionally calling in moments of boredom or crisis, Leach would try to imagine what her friend was going through. “I had all these memories—not true memories, but my thoughts of what was going on with her. I’d hear little things, like they take your shoes sometimes or that there’s a lot of wearing white. I had these over-the-top images that burnished my desire to know what had happened.”

    As Leach worked on the book, the troubled-teen industry became a renewed topic of public discourse after Paris Hilton came forward with her experiences of abuse at a therapeutic boarding school. In her 2020 documentary, This Is Paris, the reality star talks about the lingering effects of her teenage experiences of isolation and abuse.

    Leach said she saw a reflection of Hilton’s experiences of the things she learned during her research for The Elissas, and the way programs in the troubled-teen industry teaches teenagers to mask their emotions. “These are institutions that teach you masks are the best thing, so of course she put a face on,” Leach said. “They run on operant conditioning—get your points, comply. Of course that leads you to create a persona for yourself when you’re deprived and lose any sense of personhood.”

    Eventually, three years of reporting and researching led Leach to realize that the story of the Elissas dovetailed with some of the thorniest social issues of our times, from increasing fears over girls’ mental health to the opioid crisis.The book that resulted is an indictment of modern girlhood and our culture’s obsession with quick-fix psychological pseudoscience.

    Leach sat down with Vanity Fair to discuss writing through grief, the contours of the troubled-teen industry, and the lessons her friend’s story has for understanding teenagers today.

    Vanity Fair: One thing that comes through in the book, especially in the beginning, is how much you adored Elissa. She comes off as a bit of a spitfire, that sparkly, outgoing friend who everyone wants to be around. You portray yourself as her sidekick in the beginning, but you also complicate that story, and are pretty honest about the ways that you misbehaved or acted out as a teenager. Why did you decide to complicate that trope?

    Samantha Leach: I’ve loved so many stories about the sparkly friend and the less sparkly friend, or the friend with blond hair and the friend with brown hair, the student and the nonstudent. But I really didn’t want it to feel that flat, not that all those stories are flat. I just felt like we’ve seen that before and it can feel like that there’s no escaping that binary. But I was like, nah, I’m not that, I’ve done my own fair share of shit and I needed to be honest. Besides, I was going to tell everybody else’s secrets. So I thought, let me spill some of my own.

    The book reminded me of the recent statistics about how teenage girls are facing a mental health crisis. But you’re talking about the early 2000s, and you really focus on the contours of what it was like to be a teen then—the fashion, the ways of communicating with each other. In a way, the experiences of the Elissas feels a bit like the prehistory of whatever is going on right now.

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    Erin Vanderhoof

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  • China’s Economy Is Worse Now Than in the 1970s, This Analyst Says

    China’s Economy Is Worse Now Than in the 1970s, This Analyst Says

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    China’s property developers are under duress again, re-igniting concerns about a debt crisis. But with a faltering economy and diminished confidence among households and companies, China debt watcher Charlene Chu, senior analyst at Autonomous Research, worries the ingredients are there for a broader financial crisis for the first time.

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  • So How Exactly Are the Jonas Brothers Going to Play 5 Albums Every Night?

    So How Exactly Are the Jonas Brothers Going to Play 5 Albums Every Night?

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    Nearly two decades into their careers, Kevin, Joe, and Nick Jonas are embarking on the most ambitious Jonas Brothers tour yet, and over the weekend they kicked it off with two sold-out shows at Yankee Stadium. The band, fronted by the brothers and rounded out by an ecosystem of collaborators and touring musicians, was joined by a few special guests, including Jimmy Fallon, who led the crowd in a rendition of The Killers’ “Mr. Brightside” during the intermission of Sunday’s show.

    From Kevin Mazur/Getty Images for Jonas Brothers.

    The tour is coming off the group’s newest release, The Album, a collection of songs playfully referencing ’70s and ’80s music and cowritten and produced by Jon Bellion. But with an eye toward the band’s deep fan base, every night’s show will also include nearly all the songs from its four most loved albums, starting from 2007’s Jonas Brothers. Ever since the band’s 2019 reunion, Jonas Brothers shows have included the group’s biggest hits from the Disney Channel days. But earlier this year, during a five-night run of Broadway shows, the musicians discovered a new appreciation for the deep cuts, which sound even more timeless now that pop punk is a lingua franca uniting artists in rock, rap, and country. The brothers, now in their 30s, were teenagers when they wrote their early albums, but with time, it’s become clear that the Jonas Brothers helped shape a generation with their brand of hook-focused power pop featuring catchy guitar riffs and sly asides.

    From Kevin Mazur/Getty Images for Jonas Brothers.

    “The show is really something special,” Kevin told Vanity Fair in a recent interview. “It’s a journey through our lives so far, you know? It’s cool to see people that know all of our music and fans that are on the newer side experience all this, this journey of our lives together.”

    Before the weekend, the brothers sat down to explain the logic behind taking a trip down memory lane and revisiting five albums in one night. As Kevin himself noted on Twitter earlier this summer, it’s so many songs. If you add in all the other must-plays, it’s about 67. But they’ve managed to get it down to about three hours, and it’s a show that’s engaging for hardcore and casual fans alike.

    This interview has been edited and condensed for clarity.

    Vanity Fair: You’re fitting so much music into one night. Were you thinking about doing it chronologically, Taylor Swift Eras-style? Or a bit more like what Beyoncé is doing with Renaissance, blending new and old thematically?

    Joe Jonas: It’s a blend of all of those things. We know that we’re going to have a lot of newer fans coming to the show, as well as the OG fans who know the earlier albums. So we have the new album spaced throughout the set. We also have a lot of songs that were not necessarily part of albums—singles or songs from our individual projects—so we have a lot to play with. We wanted to build a really theatrical show that takes you on a musical, emotional journey if you’re a fan or not. We wanted to create a space where you’re just happy to be there, almost like the DJs up there mixing songs together. There’s a lot of medleys, because we can’t fit all of every song. What was the word we came up with for them?

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    Erin Vanderhoof

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  • ‘High School Musical: The Musical: The Series’ Takes a Final Bow

    ‘High School Musical: The Musical: The Series’ Takes a Final Bow

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    Series creator Tim Federle peels back the curtain on original-cast cameos, Olivia Rodrigo’s career trajectory, and why this was “the season to go crazy.”

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    Savannah Walsh

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