When the NFL season kicks off next month, millions of Americans will gather around their televisions to watch athletes of comic book proportions crash into each other at breathtaking speeds. Inevitably, those players’ heads will smash into each other, leaving them dazed on the field. And according to a major new study, these repeated head-on collisions may eventually lead to a degenerative brain disease for many — if not most — of the players long after they’ve left the field.

For years now, America has been reckoning with the tension between its love for football and the growing evidence of its dangers. Those concerns can be boiled down to three letters: CTE, or chronic traumatic encephalopathy, which is the progressive brain disease that can lead to dementia, depression, suicide, and other serious mental health problems.

One major question over the past 20 years has been: Exactly how often does playing football lead to CTE? What are the risks for peewee players versus pros? How quickly does the brain deteriorate once the disease takes hold? And new research, published this week in BMJ, has provided us with some staggering answers. After analyzing the death records for hundreds of former NFL players, the co-authors concluded that at least 25 percent of the former players who died between 2016 and 2021 had CTE at the time of their death. 

And the actual prevalence could be much higher, but more players’ brains would have to be given over to scientists for a CTE assessment for us to know for sure. Because among the 338 players whose brains were donated and studied, the CTE rate was an astonishing 93 percent. The question is, according to the researchers: Is that percentage skewed because the players exhibiting CTE symptoms were more likely to offer up their brain for research? Or, as the authors suggest is possible, is the real CTE rate closer to 90 percent? Only further research will be able to tell us, but even the latest estimate — one in four — is cause for concern.

It’s a stark reminder of football’s risks, delivered right on the cusp of a new season for pro, college, and high school teams around the country. And according to the Aspen Institute’s annual State of Play report, there are signs that the game’s future may actually be at risk. 

More and more American parents are steering their kids away from tackle football. How long can an elite league like the NFL last when the pool of players is getting smaller and smaller — at the same time the scientific evidence of its dangers is becoming clearer and clearer?

The youth football pipeline is drying up

Despite the latest research, the NFL is going to be fine in the short term. Professional football is the biggest TV show in the country: Last year, 83 of the top 100 rated TV shows were NFL games, up from 72 in 2024. The next Super Bowl will almost certainly attract more than 100 million viewers and end up the single most-watched TV program in the US for the whole year. Football is one thing that transcends politics in an increasingly polarized America.

But with each new piece of evidence about the physical and mental costs of playing football, football’s long-term dominance looks less and less certain. Already, if you dig into the trend lines for youth participation, they reveal a real threat to the sport’s future.

Let’s start with the good news for football enthusiasts: Flag football has become more and more popular among kids, supported by investments and promotion by the NFL itself and expert consensus that it’s much safer than tackle, especially when it comes to head injuries. According to the Aspen Institute’s State of Play survey, flag football participation among kids ages 6 to 12 grew by 13.6 percent from 2019 to 2024, while tackle football play dropped 7 percent among the same age group over that time.

But it’s participation among the next age group that may be most revealing. According to the Aspen Institute, tackle football participation rates among Americans ages 13 to 17 — the prime age for middle school and high school teams — decreased 9 percent from 2019 to 2024. It has even fallen behind tennis among the teenage cohort. Many of the tweens who play flag football may never strap on a helmet to play tackle.

Even if fewer kids play tackle football year over year, the sport may still subsist on its promises of upward mobility for people who come from poorer backgrounds. With the recent introduction of compensation for college players, elite athletes can make millions of dollars in income before they even reach the NFL. It may be no surprise, then, that the young people still playing tackle football are more likely to be lower-income and live in conservative states. 

Another study found that Black and Hispanic parents, who on average earn less money than their white counterparts, are more likely to see football as a path to college scholarship or even a professional career; the Washington Post reported in 2023 that the proportion of white players at the college level is falling while the percentage of Black players is rising. Football players are often thought of as modern gladiators: participants disproportionately from lower classes aspiring to riches and glory in a violent game for the viewing pleasure of the general public. That’s becoming more and more true as we learn more about its dangers. 

As the annual hoopla around the NFL kickoff makes clear, football’s cultural dominance remains unrivaled among professional sports. But this new study has left even me, a lifelong football fan, wondering how much longer it can, and should, last.

Editor’s note, August 25, 10:15 am ET: This article was originally published in 2018 and has been updated for the start of the new PSL season.

August 25 is not a day that is particularly known for feeling especially crisp or autumnal in most parts of North America. And yet it’s the day this year — the earliest release date ever — that Starbucks, contending with a slowdown in sales, will unleash its annual run of pumpkin spice lattes upon its customers.

You’d be forgiven for mistaking this tone for one of disdain. Since its inception in 2003, the pumpkin spice latte has become something of a straw man for discussions about capitalism, seasonal creep, and the meaning of “basic,” resulting in widespread hatred for an otherwise innocuous beverage.

For example, back in 2014, at the height of pumpkin spice mania, this very website described the PSL as “an unctuous, pungent, saccharine brown liquid, equal parts dairy and diabetes, served in paper cups and guzzled down by the liter” — even though clearly the pumpkin spice latte is a highly delicious treat that pairs well with wearing vests and making dorky comments about how crisp the air feels today. Yes, it contains 380 calories; yes, it will make your coffee a rather unappetizing orange color; no, you should not “guzzle it down by the liter.”

But contempt for the PSL and other items of the seasonal pumpkin spice variety is often not really about the flavor itself. After all, there are plenty of other flavors we should all be way more furious about. (There is a shop in Scotland that serves mayonnaise ice cream, people!) Too frequently, it’s about sexism, class anxiety, and our collective skepticism of savvy marketing. After all, the PSL is doing something right: It’s Starbucks’ most popular seasonal beverage, with about 424 million sold worldwide. In 2019, the chain leaned in further with the introduction of the Pumpkin Cream Cold Brew, finally admitting to the world that late August is still iced coffee weather.

The history of the PSL

The pumpkin spice latte almost didn’t exist. As former Starbucks veteran Tim Kern told Quartz, “A number of us thought it was a beverage so dominated by a flavor other than coffee that it didn’t put Starbucks’ coffee in the best light.”

Fortunately for Starbucks, the Tim Kerns of the company were ultimately overruled, because within a decade of its launch in 2003, the PSL became its top-selling drink, with more than 200 million of them sold. In 2015, Forbes estimated the PSL brought in around $100 million in revenue over a single season.

2015 was also the year that Starbucks changed its decade-old formula to include actual pumpkin for the first time, rather than simply caramel coloring and pumpkin pie spices (like cinnamon, nutmeg, ginger, allspice, and cloves). By all accounts, it tasted pretty much the same, just, according to its inventor, “cleaner.”

At that point, the PSL wasn’t just a cash cow — it was a cultural phenomenon. In part, that’s thanks to its marketing: There is nothing inherently seasonal about the spices that go in pumpkin pie, but Starbucks is able to convince us that the drink should only be consumed during the fall months, thereby increasing demand.

But there’s another reason the PSL exploded so much over the past decade. Culinary food trend analyst Suzy Badaracco told Vox in 2014, “Pumpkin became recognized as part of the comfort food trend during the recession in 2008,” due to its association with Thanksgiving and the holidays. In tough times, we’re more likely to crave foods that bring back happy memories.

Surely, though, the reason we all began talking about PSLs to begin with was their prevalence on social media. It’s not that they’re inherently photogenic — a Starbucks cup is a Starbucks cup regardless of what’s inside it, and the PSL doesn’t get its own specially designed cup the way the holiday drinks do.

It’s because when you add a PSL to a photo of, say, your new fall boots standing atop crunchy-looking leaves or a selfie featuring a festive dark lip color, it adds to the autumnal aesthetic. It’s not a coincidence that Instagram — the epicenter of cutesy fall tableaus — happened to blow up in the early 2010s, which is the same time it became cool to claim you despised pumpkin spice.

But maybe that’s not the whole story.

The backlash is about our anxieties around capitalism

The fact that the pumpkin spice latte — which, to many, conjures the scents and imagery of Thanksgiving — is released in increasingly hot weather year after year is often touted as an ominous harbinger of the evil forces of seasonal creep. “It’s agricultural revisionism!” argue some, citing the fact that pumpkins aren’t actually in season until autumn proper.

A viral John Oliver clip from 2014 declares as much, noting that “that bottle of pumpkin-flavored science goo sits behind the counter of Starbucks, never aging, like Ryan Seacrest”:

Perhaps in response to such criticism, in 2019 Starbucks released its second pumpkin spice beverage since the PSL’s introduction, but this time, it’s cold. The Pumpkin Cream Cold Brew is a vanilla cold brew with pumpkin cold foam and topped with pumpkin spice, which CNBC describes as “less sweet and has a stronger coffee taste than a pumpkin spice latte.”

The success of the PSL is also largely responsible for the barrage of pumpkin spice-flavored everything else, including cream cheese, dog treats, Kahlua, and an especially wacky seasonal crossover, Peeps. There have also been air fresheners, deodorant, even Four Loko (okay, that one ended up being a joke), resulting in the expected amount of hand-wringing about a food trend “gone too far.” (Indeed, back in 2010, the spice brand McCormick forecast that pumpkin spice would be a popular flavor for the holiday season, which in turn likely exacerbated the rush.)

When a food trend is as in-your-face as pumpkin spice is — ever been to a Trader Joe’s in October? — it forces us to think about how the free market is essentially designed to create this kind of phenomenon. If a product like the pumpkin spice latte sells, it’s natural under capitalism for other companies to attempt to replicate that success. But it’s uncomfortable when we see it happening on such an exaggerated scale.

Actually, the backlash is about our contempt for women

Well, maybe, but maybe what pumpkin spice backlash is really about is our dismissal of trends that are coded as feminine. As Jaya Saxena wrote in Taste in 2017, in a piece titled “Women Aren’t Ruining Food,” “When men enjoy something, they elevate it. But when women enjoy something, they ruin it.”

She continues, on the topic of “girly” food crazes like açai bowls, rosé, and pumpkin spice versus “manly” ones like barbecue, Flamin’ Hot Cheetos, and IPAs:

When those foods blow up, we judge women for falling for the marketing or trying to jump on the bandwagon, and we assume that because they like something other women like, they don’t have minds of their own. And on top of that, women are asked to reckon with, consciously or unconsciously, the perceived psycho-sexual symbolism attached to seemingly innocuous foods.

Plus, “masculine” foods are almost never chastised for being “basic,” the ever-nebulous term used to describe someone with average, predictable taste that’s usually reserved for women.

In the most stereotypical (and by now probably outdated) terms, a “basic bitch” wears North Face, leggings, and Uggs, and absolutely adores hashtag-PSLs, marking her as a woman with “a girlish interest in seasonal changes and an unsophisticated penchant for sweet,” as The Cut noted back in 2014.

There are often classist implications, too. In a 2014 BuzzFeed piece about “basic” and class anxiety, Anne Helen Peterson wrote:

Unique taste — and the capacity to avoid the basic — is a privilege. A privilege of location (usually urban), of education (exposure to other cultures and locales), and of parentage (who would introduce and exalt other tastes). To summarize the groundbreaking work of theorist Pierre Bourdieu: We don’t choose our tastes so much as the micro-specifics of our class determine them. To consume and perform online in a basic way is thus to reflect a highly American, capitalist upbringing. Basic girls love the things they do because nearly every part of American commercial media has told them that they should.

Essentially, hating pumpkin spice lattes is our way of othering those who drink them, and in the process, marking ourselves as decidedly un-basic.

Of course, this notion of what “basic” means is not the same way black people have been using it for decades, which, as Kara Brown explained in 2014 in Jezebel, pretty much just translates to “I think that the stuff you like is lame and I don’t really like you.”

“Rihanna could become the official spokesperson for Starbucks pumpkin spice lattes and nobody would think of her as basic,” she wrote. “You know why? Because Rihanna does what she wants and what she thinks is cool and doesn’t give a damn about anybody else.”

Or maybe nobody cares anymore

Even if Rihanna suddenly became the official spokesperson of PSLs, however, there is also the possibility that, quite frankly, nobody really cares that much anymore. We seemed to have hit peak “pumpkin spice hot take” in the year 2014, with searches for “pumpkin spice latte” peaking in 2015.

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Maybe that’s because we’ve all been stricken with a case of seasonal beverage fatigue in general. Starbucks is constantly coming out with random gimmicky drinks, from the Unicorn Frappuccino to the so-called secret menu.

We also aren’t seeing the same kind of anger directed at what is arguably replacing pumpkin spice as autumn’s de facto flavor. In 2017, both Starbucks and Dunkin’ Donuts released maple pecan lattes. And according to restaurant menu data from that year, “mentions of maple as a flavor in nonalcoholic beverages on menus are up 86 percent this year over last. … Pumpkin mentions, on the other hand, are down 20 percent.” Yet nobody’s complaining about how stupid maple syrup is.

And these days, tweets about PSLs are way more in the vein of “Screw you and let me enjoy my shitty drink in peace, because everything is terrible.”

Pumpkin Spice Latte comes back tomorrow and I am 100% getting one in 91 degree weather because this world is a shitshow and I take joy where I can get it, like in delicious flavored coffee drinks.

— kelsey (@drunkhaught) August 27, 2018

People have also expressed exhaustion about the “actually-ing” over what pumpkin spice even is, as if anyone really wants to talk about it.

"pumpkin spice refers to the spices used in pumpkin pie and doesn't actually taste like pumpkins" is the "Frankenstein was the name of the doctor" of this decade

— Kyle 🌱 (@KylePlantEmoji) August 27, 2018

There are even ironic tweets poking fun at the automation of feminist responses to the anti-pumpkin spice brigade:

Women's unabashed enjoyment of a thing has always led to wholesale dismissal of said thing as frivolous and/or bad. From early examples like needlework to more current cases like pumpkin spice and romance novels, we can track this trend throughout history. In this paper I will –

— The Ripped Bodice (@TheRippedBodice) August 27, 2018

Anyway, this is all to say that maybe by now pumpkin spice has finally returned to signifying the autumnal blend of cinnamon, ginger, nutmeg, and cloves, and nothing more: not basic, not everything wrong with capitalism, and not gross. Because it’s not! It’s delicious.

Update, August 26, 2026, 10 am ET: This story was originally published in 2018 and has been updated multiple times, most recently with the 2026 PSL return date.

Developers who met through Australia’s improv scene and publishers of comedic party games have united for this slithering challenge in which you play as one extended limb

Most stealth games cast you as a spy, an assassin or a master thief. My Arms Are Longer Now dispenses with most of the criminal person, to send in just one spectacularly badly behaved limb. It slithers across floors, winds around furniture, steals things and slaps anyone within reach – finally answering the question nobody asked: what if your own arm turned to crime?

As Toot Games co-founder Matthew Jackson puts it: “You are the bad thing that happens to the people.”

Continue reading...

© Photograph: Toot Games

© Photograph: Toot Games

© Photograph: Toot Games

Meta is in court again over child safety, and this time it’s a landmark case that could force significant changes to core features of Facebook and Instagram.

Lindsay Clancy’s defense argues she killed her three kids because of postpartum psychosis. But armchair detectives, including many fed-up mothers, are laying blame with her ex-husband.

On the court, the WNBA is thriving. After 30 years, its players are receiving a historic payout, along with a massive TV distribution deal that will mean more games, and hopefully even more fans. But off the court, all that attention has some downsides. Most recently, it means that the culture war has come for the WNBA.

Specifically, the league has found itself at the center of a debate over transgender athletes and women’s sports, one that Indiana Fever guard Sophie Cunningham ignited last month. 

Cunningham, 30, has gained a reputation as an “enforcer” for her All-Star teammate, Caitlin Clark. In July, she told ESPN that “I think that I am here to extend love, but I also think that with love is truth, being honest. And I want to protect young girls in a locker room or young girls in sport who shouldn’t have to go against biological men.”

No known trans athletes have ever played in the WNBA, but that hasn’t much deterred pundits from weighing in. It’s the latest instance of the WNBA playing a central role in conversations about race and gender — even as most of the outrage is happening outside the court, while players and coaches would rather focus on basketball.

To get a better sense of what’s going on in the league — and why — Today, Explained co-host Noel King spoke with Ringer staff writer Seerat Sohi, who covers the NBA, WNBA, and women’s college basketball, about why the WNBA can’t seem to escape the culture wars.

Below is an excerpt of their conversation, edited for length and clarity. There’s much more in the full podcast, so listen to Today, Explained wherever you get your podcasts, including Apple Podcasts, Pandora, and Spotify.

What is it about the WNBA ?

The WNBA is a league that invites, frankly, a lot of distraction, both because of its own institutional failures — I do think the WNBA really struggles at telling its own story and has at times run away from its own story — but I think in general, the WNBA has become fertile ground for the culture wars, as we put them, because the league has exploded in popularity at the same moment in the country where we are embroiled in this cultural, political, legal fight over what the role of women is in society. 

Let’s break this down to the two pieces you mentioned. You referenced institutional failures. What do you mean? 

The WNBA, from the top down, has been understaffed, and it has historically been marketed in a way that is obsessed with trying to bring in some apocryphal average American, the nuclear family. And at the same time, this has been a league that has been defined by people who have historically existed on the margins. They are female athletes at a time when historically female athletes were not paid much attention to, and in fact were mocked.

It’s the league that is primarily Black, that is openly queer, that is politically outspoken. And the league has always tried to toe the line of marketing the faces that feel more like a girl-next-door type of vibe.

To the point that early on, we can look at, for example, Sue Bird, who, when she entered the league [in 2002], was encouraged to not come out. 

And if you look back at pictures of her, she is dressed in a way that not only is it feminine, but it is also not the issue. The issue is that she’s very clearly uncomfortable in her own skin. Diana Taurasi, whose jersey was just retired — if you look back at her awards, it’s the same thing. 

Fast-forward to 2026, these are queer icons who are highly marketable in the media environment that we are in right now, but the WNBA has always been behind the eight ball in that regard because it has run away from its identity.

So by institutional failures, what we mean is maybe a lack of bravery or a lack of spine. You also said this exploded because the WNBA is of great interest at this moment to right-wing figures. What do you mean by that?

The right cares about the WNBA in the same way that it cares about who becomes a Disney princess. It understands the power of a good story. It understands symbolism. To see women on that stage thriving, to see them sweaty, to see them wanting, to see them be the main character instead of the object of somebody else’s affection or interest, to see them be the subject and be the ones that are going for something as opposed to being on the sidelines. 

That in and of itself alone is very, very powerful. And then you think about where the WNBA is politically. This has always been a league that has been very outspoken. This is a league that in 2020 helped flip a Georgia Senate election and actually ousted their then-owner of the Atlanta Dream who spoke out against the Black Lives Matter movement. 

I always understood the WNBA to have a smaller fan base. But the situation with Sophie Cunningham has made me realize it is much larger and much more middle-of-the-road than I would have thought. Did something change recently? Did the fan base of the WNBA grow? 

[Indiana Fever All-Star] Caitlin Clark was an explosive figure. Caitlin Clark was really a gateway drug for WNBA fans. The sheer amount of eyeballs that she has brought to the game, the attention, her logo threes. She is the type of player that makes children out of all of us. And then there’s also this right-wing movement that has latched onto her as a symbol. 

Why is that? For someone who doesn’t watch many games, what’s going on? 

Caitlin is white and straight. That is a demographic that I guess you could say is maybe underrepresented in the WNBA. And there was a feeling when she came into the league that she wasn’t welcomed in the same way that maybe other stars in the past have been. There was a sense that maybe there was some resentment. 

Now, I don’t know if that’s true. I would imagine, look, these are human beings that we’re talking about. There was probably a spectrum of feelings when you think about it. This was a league that didn’t have charter flights. Caitlin Clark comes in, they get charter flights. 

Now, obviously that’s great for the players, but I also think that there was a feeling of, “Oh wait, the WNBA could have done these things that we’ve been advocating for for a long time. Now they’re finally listening because Caitlin is here.”

She is, ironically, an organic phenomenon that is bringing to light the manufactured failures of the WNBA in the past. 

Caitlin Clark goes to the WNBA. The WNBA grows its fan base to include people who traditionally were not watching. And then what is the leap from that fact? More people at games, more eyeballs on games. More eyeballs on players, to a conservative movement seizes upon the WNBA and says, “We’re gonna make something out of this.” How did you see that play out? 

It started with the 2023 college national title game, when Caitlin was still in college. And she went up against Angel Reese from LSU. LSU won that game. And after the game, Angel Reese did the “You can’t see me” taunt by John Cena, and it was actually something that Caitlin did [previously] in the Elite Eight. It was taken as trash talk. Angel then repeated that symbol to Caitlin after they won and pointed at her ring.

In the aftermath of that, Angel Reese was called all kinds of things by not only conservative commentators — a lot of this was conservative commentators, but you also had people like Keith Olbermann, who’s a former SportsCenter anchor and probably somebody who’s a little bit more in the middle of the road, calling her classless.

I think a lot of the WNBA fans took those things to be dog whistles, that it was a form of racism. And there was also just overt racism. There were just words that you and I would not say and would not repeat here that were thrown at Angel Reese, who has also dealt with a lot of vitriol since that moment. 

That moment changed both of their lives, frankly. And that was really the inciting incident. From then on, I think that there were a lot of people in the new media landscape that recognized that the WNBA was a fault line for a lot of our modern discourse in America. 

It is a league that you can use as a proxy to talk about race, gender fluidity, femininity, DEI, labor politics. It is probably the most modern American league that we have.

And if you look back at the history of sports, I think Americans have always used sports as a proxy to talk about things that aren’t actually about the sport. And the WNBA is really just the latest vessel of that.

The app now allows men to make the first move, suggesting its women-first positioning was limiting growth. It joins other dating apps now throwing everything at the wall in a bid to stay relevant.

The West Coast house-party scene has long been iconic. For these young, tech-savvy entrepreneurs, it was also inspiration for MyPlots, a party-promotion empire.

Overwhelmed theater apps and a scarcity mindset around exclusive big-screen formats for blockbusters like Dune: Part Three and The Odyssey have led to the “concertification” of movies.

Data and finance professionals are competing in Excel obstacle courses—amassing huge followings and keeping the Microsoft program relevant.

Something happens to kids when they’re about 9 years old. Before then, they’re voracious little bookworms, with most of them saying they read for fun at least five days a week. After their ninth birthday, only 35 percent still do. 

Experts call this phenomenon “the decline by 9,” and they spend a lot of time trying to figure out how to stop it. They talk up and cherish the books that break through: the Harry Potters and the Percy Jacksons, which got so many kids to keep reading through those danger years and which sold so well through millennial and Gen Z childhoods. Publishers keep looking for new books compelling enough to keep kids away from their screens and glued to the page. 

But for the past 10 years, books for kids ages 8 to 12 (known as middle grade) have been selling less and less. 

“It had been happening for maybe a decade, very very slowly,” said Joanne O’Sullivan, a children’s book author and reporter for Publishers Weekly. What had been a gradual slope got dramatically worse in 2020. And in the years since the pandemic, publishers have shut down multiple middle-grade imprints, culminating in it happening twice this year. 

No one in publishing is entirely sure why kids books stopped selling, but there are two major theories. One says that children are no longer reading as much as they used to, because they are worse readers than previous generations were. The age group that used to happily devour Harry Potter is now distracted by iPads and YouTube shorts, so they never developed the ability to sit down and focus on a printed page. Their reading scores, which started falling in 2014, tell the tale.

The other theory says that the kids aren’t the ones who changed — publishers are. Starting in the 2000s, middle-grade books began getting long, with the average going from 174.5 pages in 2006 to 290 in 2016. According to this narrative, publishers flooded the market with books too difficult for their target audience. Kids responded by tuning out. 

Whichever theory is true, the fact remains that all those ravenous 8-year-old bookworms depend on middle-grade publishers to keep on reading after they turn 9. The publishers who sell these books have built massive businesses on their ability to supply kids with exciting, addictive stories. If they’re failing, what will kids turn to for entertainment instead?

Why did tweens lose interest in books?

Reading decline happens during the big transition all middle-grade readers go through: moving from short illustrated chapter books to fully fledged novels. It’s a pain point. 

“They’ve been doing short chapter books; they’ve been doing those leveled readers in the classroom; and, then, all of a sudden, what’s available to them is a lot chunkier, more challenging,” O’Sullivan said. She described the transition as “abrupt,” adding, “that’s not necessarily just for kids who are struggling with reading. That’s also for kids who like reading and are capable.” 

“If you have a kid who’s not a very confident reader, a long book is very intimidating,” Kelly Dickinson, a middle school librarian in Bethesda, Maryland, told Vox. “They just stall out before they can even pick one, because they look at it and they think, ‘I can’t read that.’” 

The shadow of Harry Potter, with its doorstopper volumes approaching a thousand pages, looms large here. Before Harry, a standard middle-grade novel might look like The Baby-Sitters Club volume The Truth About Stacey, which clocks in around 35,000 words. In a Substack post in April, Vicky Weber, an author, literary agent, and author coach for middle-grade books, pointed out that Sorcerer’s Stone was 76,944 words long, already pushing the limits of a middle-grade reader’s attention. After the books became phenomenons, they got much longer; Order of the Phoenix was 257,045 words, which is heftier than most adult novels. As publishers raced to catch up, their books began to expand, as well.  

“When something becomes really popular, other publishers try to replicate that success,” Weber told Vox. “I think one of the things we didn’t take into account is how many Harry Potter readers were adults.” 

While middle-grade books really did get longer, everyone I spoke to also acknowledges that kids’ reading scores really did drop, too. Kids have lost a lot of their unstructured play time to the grind of organized sports and music lessons, which means the empty childhood hours that are such perfect reading opportunities have vanished. “That time to just sit down and read is so truncated for a lot of kids, probably a lot of the kids who would have chosen to read a 400-page book if they had the time,” O’Sullivan said. 

Then, there was the trauma of Covid, which smashed right into kids’ reading habits. “There were factors like schools and libraries closing, not much time with peers, and plenty of screen time during the pandemic,” said Kristen McLean, who runs the thought leadership collective Circana Entertainment Knowledge Group. All these bad effects, McLean said, that essentially “broke the discovery chain” for middle-grade fiction, in what she describes as “a perfect storm for lower literacy.”

The graphic novel pivot

The good news is that kids didn’t stop reading entirely during the pandemic. A few categories spiked: illustrated books, graphic novels, and manga. Jackie De Leo, now the chief merchant and publisher at Scholastic, was a vice president at Barnes & Noble during the pandemic, and she describes seeing kids with an unquenchable thirst for manga all through 2020. 

“If you sat in a store and watched the manga section, you’d see little kids at lunch; you’d see them through the day; and, then, it would move into being adults,” De Leo said. “The only real constraint was actual inventory.” 

Now, O’Sullivan says she keeps hearing middle-grade publishers say, “Let’s meet them where they are.” In practice, that appears to mean they’re focusing on books like the wildly popular Dog Man, a graphic novel series featuring a hero with the head of a dog and the body of a police officer. 

“Dog Man is full color — so immersive,” De Leo said. “There’s these fun parts about the physical book, too, where you actually have to flap the pages and it makes an animation reel.” More importantly, she said, the books are funny. “Kids like things that are funny, and we were giving them some pretty serious things for a while — books for adults packaged as middle-grade books.”

The new ideal middle-grade book is short, punchy, and comedic and comes with a hefty dose of graphics. “Maybe it’s comics, maybe it’s illustrated novels,” O’Sullivan said. “Maybe, instead of just running text, they’ll have a panel with some text messages in it or something, just to break up the text to make the entire experience of reading less intimidating.” 

This focus on breaking up the text means that publishing isn’t going back to what middle-grade books looked like before Harry Potter: short, simple chapter books à la The Baby-Sitters Club and Encyclopedia Brown. Those series weren’t hefty or overly serious, but they were massive bestsellers on the strength of their words, not their images. (It’s also worth noting that Scholastic adapted a few of the BSC books into graphic novels in 2006 and, then, perhaps seeing the writing on the wall, picked up the project again in 2021.)

I asked De Leo if she thought the industry’s shift to including more illustrations suggests that kids have lost an ability to handle pure text, even when it is short and sweet.

But De Leo said that reading graphic novels represents a “different type of literacy” from that required to read Encyclopedia Brown mysteries, not a lesser one. She said that when she reads a graphic novel, she has trouble forcing herself to look at the images, not just the words. When she sees kids focusing on the pictures with ease, she takes it as evidence of “a real visual literacy that they have that I am jealous of.”

Dickinson, the librarian, said she wishes that publishers would put out comedic fiction in more formats. “A lot of kids want funny books, and a lot of the funny books are the illustrated hybrid stuff,” she said. “There’s not enough other funny books, in my opinion.” 

Reenvisioning middle grade books

Experts are hopeful that publishers’ new direction will be enough to get kids reading again — and to get their parents to buy books. “This is probably the first year where I’ve heard people being optimistic and feeling excited about the new ideas that are coming,” O’Sullivan said. “People are beginning to be able to re-envision middle grade.” 

The publishing shutdowns reflect the industry’s new direction. One of the three people to survive the March closure of Dial Books for Young Readers was an editor specializing in picture books and graphic novels. Macmillan is replacing the now-defunct Roaring Brook Press imprint, which also closed in March, with a new imprint specializing in nonfiction and illustrated books for kids, although it’s not yet clear what age group the new imprint will cater to.

In the meantime, kids’ reading test scores have started to rebound. In 2025, 9-year-olds’ average reading scores went up four points from 2022 — back to where they were before the pandemic. 

With kids becoming stronger readers and books getting shorter, the hope is that they’ll meet in the middle. 

“Kids in the middle-grade age are extremely self-centered and view everything through how it impacts them. Developmentally, that’s very normal,” Dickinson said. “But also, they’re incredibly empathetic at this age.” Reading fiction, which allows us to imagine how other people’s minds work, can be deeply impactful for this malleable age if kids can hold onto their love of reading long enough to reap the benefits. 

“This is a time when reading habits and interest in reading can really die,” Dickinson said. “The hope is to help kids discover what kinds of books or what formats they like — and to show that there are ways in.”

The early website Hot or Not taught its users to rank people at scale. Twenty-six years later, dating apps are trying to escape the culture the site helped create.

From a fan perspective, seeing the Knicks at Madison Square Garden, attending the US Open and sipping on Honey Deuces, and getting a seat to Olivia Rodrigo’s Unraveled Tour and sing-screaming to “Stupid Song” couldn’t be more different. But they do have one thing in common: They’re all expensive. 

Attending a live event has become a luxury purchase. Not that long ago in 2019, the average price of a concert ticket was $92. Maybe your seats weren’t great, but you could afford to be in the room. Now the average price has risen to around $133 for face value, and you’re likely spending way more to see the biggest names in music and sports. And thanks to Live Nation’s grip on the music and sports ticketing industry, ever-increasing service fees, and features like dynamic pricing and a ruthless secondary resale market, it certainly feels like we’re not seeing any relief from these sky-high costs anytime soon. 

For those who, say, can’t afford a $1,845 nosebleed ticket to see the Nova Knicks or a $2,000 Olivia Rodrigo resale seat, that means watching at home, or, if something isn’t eventually streamed, just missing out entirely. 

Looking at a seating map and seeing exactly how much ticket prices are changes your perception of the people lucky enough to attend. Like, what kind of person is spending that much money to sit in the very last row? How do they move through this universe with that much money to spend on bad seats? Is everyone secretly rich? Is this just a matter of fiscal irresponsibility? What is going on????

While Vox cannot speak to how everyone in attendance is paying for their tickets, we did talk to one person who was willing to share.

Enter: Craig, a 44-year-old living in the Bay Area, who makes roughly $180,000 per year. Craig spent more than $15,000 seeing Beyoncé’s Cowboy Carter Tour six times. This interview has been edited for length and clarity.

I want to know, are you a secret heiress? A billionaire oligarch? How does one afford to see Beyoncé six times? 

No, I’m not an heiress. I’m not unfortunately a billionaire — well, no, billionaires are bad, so don’t quote me on that. But it’s funny, one of the first things that comes to mind is my fandom for so many artists is expansive, but also I just spend money on certain things and not other things. My mom’s big motto in life was, “We’re making memories.” And so for me, I’m never going to regret going to Beyoncé six times. I’m going to regret only seeing her Renaissance tour twice.

One of my big regrets is not going to the Renaissance World Tour. 

I realized a lot of it is — it’s the only place where you can really have this communal experience with people that are in your same delusional mindset. With Cowboy Carter, I was at the very first show in LA, and then I had planned to go to three shows. But then it just became this thing that got into my soul and was like, “I need to keep going.” 

I don’t mind putting this into print or whatever, but I’m an addict, an alcoholic who’s been in recovery for decades, and so it’s easy for me to get hooked on things, but this is such a pure, very expensive way to have joy.

What was it about Cowboy Carter that compelled you to keep going? Was it because you knew Renaissance was amazing? Was it because you saw the movie?

Yeah, I saw the movie four times, but I just kind of knew. And my big three are Björk, Fiona Apple, and Beyoncé. And so Björk is in Iceland most of the time, thank God. Fiona Apple as much as —

Wait, wait, thank God because of your wallet?

Yes.

And Fiona Apple, I’ve seen her many times, but she just doesn’t tour. As much as I’d love her to, she just doesn’t. And I will see Robyn three times this year. I’ve seen Carly Rae Jepsen as many times as I can. But with Beyoncé, it’s like I know there’s a limited amount of how much she’s going to be doing what she’s doing. And with Act III at some point coming up, there’s a real push that I need to get as much as I can. And it sounds greedy, but I don’t feel bad taking up a ticket or space, when I enjoy it as much as I do. 

Take me through Cowboy Carter. You said you were going to initially see it three times.

Right.

You ended up seeing it how many times? Six?

I saw it six times.

Take me through that mentality — from three, how’d that balloon six?

I knew that I was going to see the first three shows. I had planned with a boyfriend who’s now an ex that was part of this whole process. I was going to go to the first show, the second show, and the third show, and then I was going to be done. But I knew in the back of my mind that I wasn’t probably done. And it’s so funny because my first outfit was pretty homegrown, a just-barely-put-together cowboy hat that I bought at the show. And then by the time I was at the fifth and the sixth show, I had a custom-made gold outfit.

It became this thing where I can’t quite explain how I ended up going to six shows other than it was this snowball rolling downhill.

What kind of tickets did you have? Were they all the same? 

I was in the section right by the catwalk. So it was like, Oh shit, I have to go do this again in the same spot. What I would’ve done differently is I would’ve seen it from way up above. I would’ve seen it from cheaper seats.

What was your more expensive ticket? 

I mean, honestly, my most expensive ticket was the last show and I paid $2,200. And at that point, it had built so much that there was no way I wasn’t going to not be where I wanted to be. It just was like, “Nope, this is happening.”

Tell me about that. You have amazing tickets. You’re up close… 

The last show, I was alone in Club Ho-Down. The amount of friends that I made and the amount of celebrities that I saw — to be in that environment with people that are on your same level and people are screaming and crying and know exactly what’s going to happen. And then when Shaboozey comes out or Jay-Z comes out or Destiny’s Child comes out — I’m getting chills just thinking about it. I can’t explain how I led myself to going to six, but once you’ve got $8,000 on your credit card, what is $12,000?

I — well, $4000 more? 

I know. 

Did you buy them all at one time or was it after you saw the first two?

I had planned the first three and then I had a friend who I went to New York with and we talked ourselves into going to New York. And then in the back of my mind I was like, “I have to go to the last two shows.”

I don’t regret it. I honestly probably will go to eight for Act III. But I will also be more strategic and I will get a seat that is a lot cheaper for a couple of shows. 

Now I’m going to ask you about the painful stuff. So you said if you’re already $8,000 down, what’s $12,000. But did you plan for it? Can you talk me through the financial planning of this?

There wasn’t really any. The breakup that I had happened after my New York show. And so I think my delusional sort of mania kicked in and I was like, “Fuck it, I’m going to spend $800 on an outfit that’s custom-made.” I’m going to go to both shows at the end and just — it got me through a really tough summer, and it was something that I don’t regret.

How does that work on a credit card? You said that you recently paid it off, right? Is that two years later?

It’s a year later. I live in San Francisco. I have a pretty good job, but also I work in education, and I’ve worked in education my whole life. So it was a lot of my interest, I paid a lot of fees, I’m sure, it takes so long to pay it off, and I was adding to it the whole year. I am not good with money. I wish I were. But again, I don’t have aspirations to own property yet, and I don’t have children.

Beyoncé is your big expense of the last couple years. 

Yeah, pretty much.

And again, I feel embarrassed about that a little bit because I have friends where one spouse, their entire salary goes to childcare. And I’m like, oh, that sounds not fun.

But think of it this way: that’s so much Beyoncé that you could be experiencing instead of having a kid.

Yeah. 

So Act III is rumored. Would you do it again?

Oh, absolutely. Like I said, I’m going to possibly go to, I think, between five and eight shows depending on. And one of my work friends, we talk about what’s happening in the world and we kind of decided that 2026 is Jay-Z’s year.

He has his shows. He has a show on her birthday. So I’m hoping that means the album doesn’t come out until 2027, which means the tour would be 2028, which means I have enough time to save, enough time to put some money away and be a little bit more strategic.

Do you have a limit of how much you’re willing to spend? 

On Beyoncé? I think the gay math, the boy math, that I do in my head is if I see it in chunks, it’s not as bad. The first time I looked at the whole thing was yesterday, and I looked at hotels and flights, merch, and tickets. But if I see it in little bits, I’m like, “Well, that’s not that much.” And I don’t think about how it adds up.

If Beyonce was like, “Oh, here’s my last show.” Is there a limit?

Anything up to $5,000 probably if it was a super important show or last show and I had the opportunity to do that. My parents have seen a lot of shows. That’s something sort of that I had grown up with — going to see artists.

And the real problem is Beyoncé has set this financial bar that now I almost feel like I could spend that kind of money on anyone. The fact that I’m seeing Robin in LA for $300, I’m like, “Oh my God, of course I’m going to go to three shows that week.”

Can I ask you, when was the first time you saw Beyoncé?

I mean, this is embarrassing to admit, but it was Renaissance. 

Oh my gosh. 

I know. And one of my big regrets is not going to see her earlier. 

It was 2016, and I just was like, “I can’t afford $1,000.” It’s ridiculous to say that now. And I’ve always been a fan. I had mix tapes in the ’90s with “Say My Name” and all the Destiny’s Child songs, and I’ve always been a fan of hers, but it really kicked into gear at self-titled or Lemonade. And that makes me sound like a fake fan, but that’s not true. It’s just seeing her live, it really brought it to a new level.

I was going to tell you that I saw her when she was touring that album —  the “Love on Top” album…

4.

4. I saw her at Barclays and it was only, I want to say, $200 for the lower bowl right off the floor. It’s obviously a lot more now. 

I honestly don’t know how some people afford it. I know some people save and save and save to go to one show and they don’t have a credit card or they don’t want to put things on a credit card. I know how privileged I am to have the ability to put something on a credit card, pay it off eventually — I live in the Bay Area and have a job that’s a pretty good job, blah, blah, blah.

@angelbuckens

We made it !!! Hey Chicago !! Cow boy Carter !!! #beyhive #beyonce #cowboycarter #chicago #cowboycarterbeyonce #tickets

♬ original sound – VicBlends

For a normie, what you spend on Beyoncé is mind-blowing, but I’m sure there are people that you met at Cowboy Carter that may have spent a lot more than you, right?

Oh, yeah. There was some video that popped up, I think it was from Renaissance, but it was like, “This is my 26th show.” And Beyoncé read the sign and stepped back a bit. I don’t remember what the exact number was [it was 35]. When I was in the pit at the very last show, it wasn’t abnormal to be where I was, and be like, “I’ve seen her six times.”

So when it comes to the most serious Beyhivers, some may consider you a casual fan?

Yeah. I mean, I’m in it, but I also feel like I’m a person that always goes to a lot of shows, and this is a little bit of a light year for me just because no one huge is touring for me, but she’s coming.

This story appeared in Today, Explained, a daily newsletter that helps you understand the most compelling news and stories of the day. Subscribe here.

Karoline Leavitt, the 28-year-old firebrand who became the nation’s youngest-ever press secretary in 2024, is stepping down to “spend more time with her beautiful young children.”

President Donald Trump announced the news on Wednesday night in a Truth Social post, adding that Leavitt would remain an adviser and “an influential voice within the Republican Party.”

It feels fitting that Leavitt — whose public persona required her to perform both her job and her role as a wife and mom — is stepping down to parent. In MAGA’s conception of womanhood, there can be no higher calling. Not even serving the president. 

For more than two years, however, Leavitt made a show of trying to do both. She returned to work on Trump’s reelection campaign only days after the birth of her first child and regularly shared photos of herself working while holding her son. 

Leavitt also welcomed a daughter over the spring, amid what Fox News dubbed a White House “baby boom.” Officials and conservative media quickly turned the new mothers into advertisements for the pro-natalist movement: Proof that women could, and should, have both careers and children. 

Leavitt is still being held up that way, even — perhaps especially — as she departs. “She’s been a role model to millions and millions of young women,” deputy chief of staff Stephen Miller told Fox News on Wednesday. “A mother, a family woman, a press secretary, a patriot.”

MAGA’s rules for women

The MAGA movement tends to glorify traditional female roles — wife, mother, homemaker — while simultaneously (and confusingly) elevating ambitious, career-driven women like Leavitt. 

At first glance, her prominence — and that of other women in Trump’s administration — would seem to rebut the charge that the movement is misogynist. In fact, that’s a line of defense that Trump himself has advanced. 

But look a little closer, and you’ll see the structural contradiction at the heart of MAGA femininity: Female power is only legitimate when it’s exercised on behalf of Trump, and by women who conform to traditional expectations around gender, marriage, motherhood, and physical appearance.

To Trump, a female White House correspondent was a “piggy,” for instance. But a female press secretary who defended the slur was “knocking them dead.” 

A female employee at a Trump golf course was asked to sign an NDA after reporting harassment. But the female attorney who allegedly pressured her to sign it was, according to Trump, “a rocket ship.”

A female politician rose to prominence championing the president’s deportation agenda. But to get there, she had to find her “Mar-a-Lago face” — and she was ousted after showing signs of personal ambition. (In fairness, she was also very bad at her job.) 

It’s a very tricky little tightrope to walk. And lately, that strain has begun to show. While Trump began his second term with an unusually high number of female Cabinet members for a Republican president, women now hold only four of 23 Cabinet or Cabinet-level positions. 

Trump’s support is also down among young women. In Congress, a bloc of prominent conservative female lawmakers recently broke from their party to censure Republicans accused of misconduct. Now, the MAGA movement is losing one of its fiercest female proxies in Leavitt. 

Even at the height of her powers, however, Leavitt never really got her due. The luxurious office traditionally reserved for the White House press secretary instead went to another White House staffer. A dude.

One link for later

➨ Meet the latest and greatest exercise cult. It’s called HYROX — yes, in all caps — and it’s an eight-round agility and strength competition. Participants spend thousands of dollars on training, registration, and travel for these events, which tend to “subsume your entire existence.” That’s a very hard no for me, personally…but a lot of very fit and competitive people are apparently into it. 

Before you go…

• Did you know…that the US attempted to assassinate longtime Cuban dictator Fidel Castro by poisoning his ice cream? And that’s somehow not even the weirdest or most far-fetched Castro assassination scheme. 
• Today’s trivia: Who was the first woman to perform hip hop at the White House? (You can find this and other brain puzzles in Vox’s daily crossword. Look for the answer in tomorrow’s edition.)
• Yesterday’s trivia: Yesterday we asked you for the German philosopher who wrote Critique of Practical Reason. That would be Immanuel Kant, whose work also arguably inspired one of the core conflicts in the Avengers films.

Exercise can be a humbling experience. 

A simple push-up can debase the most dignified humans, transforming them into helpless little halibuts, unable to unmoor their bellies from the floor. Squats and lunges can leave their victims crouching like tiny goblins or trembling against gravity’s will. Have you ever willingly watched yourself run at full speed? Only if you have self-esteem of steel.

But for certain people, the most physically demanding experience of their lives is not something they want to avoid, but an alluring temptation: a challenge too impossible to ignore, an irresistible dare that must be completed day after day. And they quench this desire — as well as the thirst for friendship and community; some vanity muscles; and mini vacations to the likes of Oslo, Brisbane, and Bangkok — in the sweaty, grunty, made-for-TikTok $200 million world known as Hyrox. 

What is Hyrox and why is everyone doing it without me?

HYROX is stylized in all caps. Capitalization makes it seem as if it’s a word that only exists to be yelled, an apt choice for an experience that seems to take inspiration from military training and/or the PE class you hated growing up.  

Since launching in Germany in 2017, Hyrox has become a worldwide phenomenon. As CNBC reported in June, it initially started with just 650 people and now is projected to capture roughly 1.5 million participants across 121 events in 34 countries around the world. Revenue, which comes from a combination of contest entry fees, sponsorships, merch, licensing for Hyrox-affiliated gyms, and other avenues, is expected to reach $270 million in 2026. This year, 42,000 tickets were sold to the New York City race in the event’s first 24 hours. In 2025, there were roughly 12,700 athletes registered for the event.     

Technically speaking, Hyrox is a timed competition that spans eight rounds; the person or team — athletes can compete as individuals, as doubles with a partner, or as part of a relay — with the fastest overall time wins.

Each round consists of a 1-kilometer run followed by a more “functional” strength-based move, often done using a machine. These exercises include: 1,000 meters on a SkiErg; a weighted 50-meter sled push; a weighted 50-meter sled pull; 80-meter burpee broad jumps; a 1,000-meter row; a 200-meter Farmers Carry (lugging around two heavy weights at your side while walking); 100 meters of lunges with a sandbag on your back; and 100 wall balls (squat thrusts that involve launching a medicine ball into the air as you stand). It’s run-exercise-run-exercise-run-exercise until all eight kilometers and all eight movements are completed.

But Hyrox is also, Hyroxers say, a lifestyle. Because the best way to succeed at Hyrox — and for many participants, winning or at least finishing with a decent time is the goal — is to train for it. That likely means going to Hyrox-affiliated gyms that prepare you for the different exercises, and training alongside other people who also plan to run the race. And that’s where it can get all-consuming.    

Abby Roskind, a 35-year-old project manager living in Washington, DC, who has finished two races, told me that Hyrox sort of subsumes your entire existence. Training for Hyrox, she said, involved 5:30 am workouts, an excruciating amount of time learning how to properly broad jump, daily soreness, and lots of complaining. 

“Because you are always with other people doing these things, it becomes a little bit of a hostile takeover of your life where you meet up with your ‘fitness’ friends, and then they become your actual friends, and all you end up doing when you’re not training for Hyrox is talking about Hyrox,” she said. 

Roskind and other Hyroxers told me that people who are very serious about wanting to do well in competition may go on a diet, cut alcohol before the race, or squeeze in extra workouts, which naturally leads to less dinners out, less meeting up for drinks, and, ultimately, less socializing. It makes sense that people going through this experience will want to talk about Hyrox since so much of their life centers on it, and that the best audience for a discussion on Hyrox strategy would be other people doing Hyrox. 

“It definitely didn’t come across as culty where it’s like, ‘Oh, welcome to my Scientology of Exercise and you’re going to do this,’” said LJ, a 34-year-old with one Hyrox under his belt. (LJ told me he was afraid of being “canceled” by fellow Hyroxers and maybe his friends for talking to Vox, so we agreed to let him use his first initials to maintain some anonymity.) LJ said that one of his friends had run races in Europe and talked him and a small group of others in their circle into competing this past year. They generally approach it as a fun, casual thing to do together.  

@sotrue.kristin

just a spectator, speculating😌 #hyrox #chicago #fyp #foryoupage #spectator

♬ WHERE IS MY HUSBAND! – RAYE

“But then when I got to the actual venue day of the race, I felt like Hillary Clinton walking through that apartment like, What the hell is going on here?” he said. “Because there are a lot of people where this is a big chunk of their life. I saw people walking around — I guess they [Hyrox] give out badges — showing all the badges that they had from all the different cities that they competed in.” 

The idea of someone, ostensibly with a day job, going from city to city to compete in Hyrox and then showing off commemorative brooches is what signaled to LJ that the workout he enjoyed could be experienced in a different, more serious way. In that moment, LJ saw Hyrox the way outsiders might. Still, for him, the positives of Hyrox — being in better shape; experiencing runner’s highs, friendships, and the rush of competition — outweighed the possible cult-by-association.

A lot of people want to feel like an elite athlete, and now we can pay for the experience

If you make a Hyroxer feel comfortable enough, you will find that they all love to talk about the parts of the race they hate the most. It’s the feeling of thick death rushing through their lungs as they stare down the number of meters left in the burpee broad jump section. It’s the judges who are there to make sure participants are getting low enough during the wall balls. It’s seemingly everything about the race. 

There’s a bottomless chasm between how much people love Hyrox and how much they love to talk about how much it actually sucks to do. The bridge that connects the two is getting to feel like an elite athlete.  

“Once you become an adult, how many times are you going to get a sticker?” James McMillian, a trainer and the president at Tone House, a strength and conditioning facility in New York City, asked me. “How many times are you going to get a reward? How many times are you going to get a medal? People just want to be part of something. They want to feel close to greatness.”

McMillian, who has completed six Hyrox races, said that the vast majority of us will never ever know what it’s like to be a GOAT like A’ja Wilson or Lionel Messi, but Hyrox lets racers microdose it: the discipline sticking to a training schedule (as opposed to just working out day after day), the adrenaline of competing on game day, and the high of thousands of people cheering for you. 

“They turned working out into an athletic sport,” McMillian said. “Making everyday people feel like an athlete and giving them that opportunity to compete like one — that’s a smart business.”

Because it turns out that people are more than willing to pay for that athlete feeling. 

While participants aren’t required to work out at Hyrox-affiliated gyms to run the race, Hyrox-specific classes can cost more than regular group fitness packages. One Hyroxer told me that their 10-class package was around $600. There’s also a microindustry developing around getting better times. You might, for example, purchase Hyrox-branded fitness trackers and training apps, Hyrox shoes, and Hyrox equipment for your home gym (like a Hyrox Official Competition Power Rope, $275; Official Competition Sandbag, $87; or HYROX Perform Turf, starting at $1,799).     

The actual competition varies in price depending on the race and location, but can cost upward of $200. Racers can also opt in for a $35 photo package, which means a professional will take shots of themselves looking muscular and sweaty during the race.

You don’t have to beat anyone else better or qualify to compete in Hyrox — you just have to buy a ticket in.

Then there’s Hyrox’s travel aspect. Hyrox is a benchmark and a goal, and race day is the culmination of all the training and sacrifice. It’s also where you get an official time. More competitive racers are training not just for their home city’s Hyrox, but to go to other races on the Hyrox calendar. 

The races are often in desirable destinations like Rome, Berlin, and Miami Beach, which can make Hyrox seem like vacation or, I guess, make a vacation seem more like Hyrox. If you’re traveling for Hyrox, that may mean paying for a plane or train ticket, or gasoline, and lodging. One Hyroxer I spoke to said that he spent roughly $1,500 on airfare and a hotel in addition to the official entry fees and photo options. Another said they spent roughly $500 in travel, saving money by splitting a hotel with a fellow racer. 

“Look, it’s the fitness space’s Eras Tour,” Bobby McMullen, a trainer and founder of the fitness app Adonis, told me. McMullen has completed four Hyrox races. “If you don’t get to do as well as you think, you’re like, ‘I’ve always wanted to go to Vegas, I’ll go to Vegas,’” McMullen said. “Or if maybe you do really well and you’re like, ‘Oh, I want to go do that again.’”

“If you travel for Hyrox, just like if you travel for Taylor or if you travel for Disney, that’s fine,” McMullen added. “But the thing I learned about Disney adults is they’re rich. It’s so expensive. Same with Hyrox.” 

Hyrox is easy, sort of 

Here is a secret to the success of Hyrox that you may not believe: Despite its HARDCORE exterior and all of its supposed brutality, Hyrox is fairly accessible for a certain type of person, particularly millennials who have made fitness a part of their life for a couple of decades now, and who’ve dabbled in intense workout trends that included Tae Bo, CrossFit, Orange Theory, and Peloton. Think about it: Hyrox couldn’t do $270 million in business if it was too difficult for people with injuries, or if participants couldn’t finish, let alone do it over and over again.

Adherents claim there’s less injury risk compared to CrossFit because Hyrox exercises are relatively lower impact and don’t involve lifting heavy weights in complicated ways. Hyrox requires less training than preparing for something like a marathon, coaches and trainers told me. Unlike a triathlon, you don’t need to find access to water or risk drowning. The same cannot be said of an IRONMAN (another race, stylized in capitalizations that just feel very aggressive).

“For the New York marathon, I would have to start training right now,” McMillian, the coach and president at Tone House said. “I could start training a month and a half before and be able to finish.” 

To be clear, McMillian makes his living being fit. Though we did not put this to the test, I’m pretty sure he could squat two of me. McMillian competes in the pro division, the competition’s advanced tier. His definition of what’s physically doable is relative because McMillian looks like he could physically do anything. 

Still, he assured me that Hyrox’s barrier to entry is lower than it might seem. While prospective Hyrox racers also have the option of taking uniquely tailored classes at Hyrox-affiliated gyms (over 15,000 across the world) and group fitness studios, McMillian said you can do most of the race’s strength-based exercises or variations of them on your own, at any basic modern gym, making it somewhat more accessible. 

“What we noticed with our clients was that these are movements they’re already doing,” McMillian said. “All we have to do is make you better at those movements and teach you how to breathe during the movements, teach you the actual metrics on the rowers to be more efficient, teach you how to be a better runner instead of teaching you a whole new style of training. We’re already teaching you what you know how to do.”

Essentially, people already working out — and there are plenty of them — are well equipped to try Hyrox. Part of Hyrox’s appeal is that it’s a bigger, bolder version of the popular, grueling luxury fitness classes that already exist, or a more competitive version of what everyone’s already doing at Equinox. “It’s a little like, how good can you gym?” says Roskind, the DC-based project manager who’s competed in two Hyrox races. 

She wryly pointed out that being good at Hyrox is a little different than winning a tournament in a skill-based sport (e.g., tennis, soccer, basketball) or getting a qualifying time into a speed-based race like swimming or running. You don’t have to beat anyone else better or qualify to compete — you just have to buy a ticket in.

Being so good at the gym and spending money to compete against other people who are good at the gym is perhaps why some racers I spoke to seemed to temper their love of Hyrox with a scrim of self-deprecation. It’s as if they’re slightly embarrassed that this race may be a millennial-targeted fake Olympics, and it’s scored a direct hit with them. In mixed company, they might not want to say why they’re really going to Athens, Mexico City, or Dublin.

This may be the most relatable thing about Hyrox and the people who love it: Even when you’re really good at exercise, it can still find a way to be, at least, a little humbling.    

The influencers have started to promise me that they know how to get me to stop shopping: I just have to enter every garment of clothing I own into an app, one by one. “I digitally cataloged my ENTIRE wardrobe,” they swear on videos, routinely pulling in hundreds of thousands of views. 

The selling point of these apps (Indyx, Whering, ACloset, OpenWardrobe, and many more) is seductive; they promise to help users understand exactly what they already own so that they shop less. In theory, that means saving money — and slowing the steady damage the fashion industry is wrecking on our planet.

“Collectively, we are buying and then throwing away more than ever before,” Indyx warned on its website, before reciting dire statistics about how many clothes are produced now and how many of them end up in landfills. Luckily, it said, “We’re here to break the cycle.” 

That idea appealed to me. I am not a fashionista, but I enjoy clothes enough to buy more than I really need, despite what I know about fashion’s impact on the planet. My intellectual understanding of climate change can’t always stop me from clicking “add to cart” when I see a dashing pair of wide-legged trousers, even though there’s a hard limit on the number of times a person can wear wide-legged trousers in one week. 

Still, to make these apps work, you have to individually enter photos of everything you own now and everything you buy in the future, which sounds like a tedious, laborious process. (You can take the photos yourself or hunt down product pictures from the brand.) And because so many influencers are pushing this, it’s hard to tell how life-changing it really is and how much is just marketing speak and hype. So, I decided to test one of these apps — Indyx — for you. I also talked to wardrobe cataloging enthusiasts and experts on sustainable consumption to see what I could learn from them. I wanted to know: Could cataloging our wardrobes actually make us shop less? And, if it can, would it be worth the effort? 

“There’s only one solution to the mess that we find ourselves in: buying less”

Wardrobe cataloging apps did not always advertise themselves as being good for the planet. 

In 2023, the journalist Avery Trufelman investigated the nascent wardrobe cataloging app industry for her podcast series Articles of Interest. She found that a lot of the apps flopped. The issue was the business model, which was based on revenue generated from affiliate links. The idea was that people would click to purchase items they saw within the apps, and the company would take a cut of each sale. But when the apps were well designed, Trufelman reported, users felt less of a need to buy more clothes.

The current generation of wardrobe cataloging app developers has turned this from a bug into a feature. They now market their wares as the solution to overshopping, and they make their money by charging for either the app itself or for its extra content. (Indyx itself is free, but you have to pay a $75 yearly subscription for its enhanced features.)

What the marketing gets right is that the fast fashion problem is real. “Anywhere from two to 10 percent of our global greenhouse gas emissions are associated with fashion,” said Brie Berry, assistant professor of environment and sustainability at Ursinus College in Pennsylvania.

Fashion’s emissions are generated by the factories that manufacture clothing (the water and the fertilizers for growing cotton, the oil for developing synthetics) and the consumers who wear these garments (the slow shed of microplastics from yoga pants, the water and the energy consumed by washing and drying). When we get rid of old clothes, much of it ends up in landfills or incinerated. By some estimates, the fashion industry contributes more to climate change than the aviation industry. 

“There’s only one solution to the mess that we find ourselves in: buying less,” said Katia Dayan Vladimirova, a researcher whose consulting firm Post Growth Fashion focuses on alternatives to growth in the fashion system. 

To buy less, it helps most people to know what they already own, said Alyssa Beltempo, a slow-fashion content creator and educator. Beltempo makes videos guiding viewers through the process of “shopping their own closets” to help them buy less stuff, but she’s found in her work that a lot of people aren’t clear on the contents of those closets. Because of that confusion, they end up buying stuff they don’t need.

That’s where cataloging can be helpful, Beltempo said. “These apps reduce that hurdle of not seeing the clothes you have,” she said.

Personally, what I was looking for wasn’t enhanced clarity so much as a barrier. I wanted to erect a wall between my desire to own a new piece of clothing and the click of the buy button. A searchable, scannable lookbook of everything I owned, I thought, might well do the trick. 

How to catalog every piece of clothing you own

Indyx has been hyping up its new AI feature, which transforms a picture of a garment hanging limply off a hanger into a neat flat lay photo. It sped the process up, but it was also buggy; it garbled text on the front of T-shirts, misread colors, and had a tendency to interpret loose threads as ornamental bows while leaving wrinkles (I am not an ironer) untouched. 

I was also concerned that the process inserted AI, with its insatiable need for water and energy, into a project sold as a way of reducing my environmental impact. But the sustainability experts I spoke to were both skeptical that this sort of light AI use was such a big deal. 

“Taking photos and then asking an app to think about how to arrange your clothing into outfits is probably one of the lighter uses of AI that I could imagine,” Berry said. Vladimirova agreed that using AI for this task is unlikely to be as bad for the planet as buying even one new garment. “But then, there is also no proven causality between using this app and reducing overconsumption,” she added as a caveat.

It’s possible to input your clothes into Indyx without using the AI feature, but the truth is: I don’t know that I could have made myself go through with the whole rigamarole without it. I ran out of free AI processing about 80 percent of the way through and, overwhelmed at the thought of having to do my own flat lays, paid $75 to buy more without hesitating.

All told, it took me about five hours and many old episodes of Top Chef to photograph my summer clothes, not including shoes, jewelry, or accessories. My time spent cataloging did not include the process of entering additional data about each garment (including its initial cost, its fiber composition, where I bought it), a herculean task that I have been tackling much more slowly than the initial entry process.

Doing the shoot properly would have taken longer. Angela Goodman, a 51-year-old marketer from Seattle with a background in product photography, says she ran her own cataloging session like a pro shoot, using art lights and folding and refolding each garment to lie perfectly. It took her 10 hours spread out over multiple weeks. 

As an exercise, photographing every piece of clothing I owned was clarifying, although not significantly more clarifying than going through it Marie Kondo-style. It left me with a small donation pile of items I no longer wanted and a fretful awareness that I own too many white T-shirts. In theory, that’s the kind of insight a wardrobe cataloging app produces by the spade.

“I’m not shopping. I’m building.”

Vladimirova, the sustainability consultant, said that, even though she has a better idea than most of how destructive the fashion industry is, she struggles with over-shopping. She thinks a lot about why people buy so many clothes; her best guess is that it’s a way to self-soothe. 

“A lot of consumption happens in the evening when we feel vulnerable and tired, and we’re trying to reward ourselves with this shot of dopamine,” she said. For some people, these apps can replace the dopamine hit that comes from scrolling through other people’s outfit photos with the dopamine hit of scrolling through your own clothes, neatly folded and filtered until they look like aspirational fashion inspo. 

Part of the satisfaction here is the infographics. After you’ve given Indyx all your fashion data, the app crunches your numbers and tells users how much you’ve bought new versus secondhand, as well as the share of natural fibers as opposed to synthetics in your closet, so that you can track the environmental impact of your shopping habits. (Synthetics tend to have a higher carbon footprint than natural fibers.) It tells you what their cost per wear is on each item to help you track which expensive garment was worth the splurge and which was a waste of money. Users can also plan outfits. You can share your wardrobe with stylists who will plan the outfits for you (on Indyx, the service ranges from $25 a month to “the low hundreds”). It’s like playing paper dolls with your own wardrobe. 

For Goodman, the former product photographer, all this data takes the place of recreational shopping. She describes getting a marketing email from one of her favorite brands about a sale. After a quick scroll through their offerings, she found that she felt no urge to buy. 

“I was like, ‘I do not need more clothes. I’m going to go update my Indyx, because I’m a couple of weeks behind,’” she said. She started inputting the last few outfits she’d worn into one of the Indyx services that is supposed to allow users to track their patterns and see which clothes they actually wear and what they like in an outfit. “I’m playing with clothes,” she said. “But, like, I’m not shopping. I’m, you know, building.”

Over time, all this data is supposed to inform future shopping choices. “There is something very clear about seeing two pieces that you’ve owned for the same amount of time — one that you’ve worn 57 times and one that you’ve worn twice,” said Alexandra, a 29-year-old consultant in Northern Virginia who requested her last name be withheld. She thinks tracking her clothes has given her “a little bit less buyer’s remorse.”

Cataloging your wardrobe can’t prevent a compulsive need to buy, though.

“I don’t think it cured me of my undiagnosed shopping addiction,” Alexandra said. “You can very quickly go from ‘I’m cataloging what I have’ to ‘I’m seeing a bunch of gaps in my wardrobe that I should fill immediately.’” 

“There just wasn’t incentive anymore”

The main question I had about these apps was whether, with such a labor-intensive process, there comes a time when the juice is no longer worth the squeeze. 

Alexandra says that she gradually stopped using her wardrobe app last year, after she moved out of her own apartment and back into her family’s suburban house in the midst of a career transition. 

“I was separated from a lot of my belongings for a very long time, and then, as I started to get things back, it didn’t feel worth the effort anymore,” she said. Who was she going to see in one of her curated outfits? “My job’s on a computer. When I leave the house, I go to the grocery store and the pharmacy and the bookstore,” she said. “There just wasn’t incentive anymore, compared to when I was closer to the city and doing things more regularly.”

Beltempo, the slow fashion content creator, said she doesn’t bother to add every new purchase to her own catalog. 

“I really use it more for my packing,” she said. Before she travels, she makes a list of likely candidates for her suitcase and enters them into the app. “And then, I’ll play, and I’ll make outfits,” she says. 

Vladimirova, the sustainable consumption researcher struggling with overshopping, gave the apps a spin. She tried three of them and found that she was only able to stick with each one for a matter of months. “In the beginning, when the novelty of the app is there, it’s very satisfying,” she said. “It records your outfits in vivid colors. It can crop out the ugly background and keep it very neat, create fancy capsules. They look so lovely.”

But over time, they all began to bore her. “And now, I forget to update when I buy something new — usually from secondhand sources — and it kind of lost its meaning for me,” she said. “But the premise is good!” 

My own experience seems to be closest to Vladimirova’s. I keep having to remind myself to enter my outfits into Indyx. Every time I put on a piece of clothing, I think with dread, “Oh god, if I don’t look up how much I paid for this, I’ll never know my cost per wear and, then, what’s the point?” I keep giving my shoes guilty looks and thinking about how I should really photograph and catalog them — if I’m doing this right. 

“It’s a project,” said Lauren Ludwig, a 41-year-old who has been using her wardrobe apps for the past three years. “But it’s a fun one for someone who enjoys clothing.”

Indyx and its brethren are slick, and their infographics are beautiful. For dedicated wardrobe hobbyists, they’re probably a great option. But for most people who just want to cut down on their clothes shopping, it’s hard to say that the $75 annual subscription is worth it. The free version will give you the same paper doll effect if you are willing to do your own flat lays, or you can recreate it by dragging phone camera pictures of your clothes onto a Google Slides deck. 

If you find, as Vladimirova theorized, that you shop when you don’t feel good, you can try replacing that habit with a “dopamine menu” of small acts that bring you joy, like hugging a pet, doing a puzzle, or going for a walk. And if your closet is filled with brand new clothes you never wear, you’re racking up debt buying clothes, or you just have the nagging sense that your shopping has spiraled completely out of control, therapy is not a bad idea. 

Personally, I found that Indyx could not give me what I really crave when I want to play with clothes: the understanding of the way fabric drapes against my body, the knowledge of its texture against my skin. There is no substitution for the slow analog process of walking into my closet, touching my clothes with my human hands, and learning with my five senses that what I have is already enough.

If you live in America in 2026, and you’re not so wealthy as to be absolutely shielded from daily life, you’re probably aware that everything is really expensive now. Gas and milk are both above $4 a gallon. Fresh vegetables are up almost 10 percent over this time last year, even though they will maybe give you explosive diarrhea. The median home in this country now costs almost half a million dollars. 

A lot of people — even those with relatively high-paying jobs — are very, very stressed about money.

In some ways, our current unaffordable era is starting to evoke the years right after the Great Recession. Unemployment was high, the economy was bleak, and a lot of Americans, myself included, were searching for ways to do more with less. 

One distinctive product of these harsh conditions was an entire blogosphere that emerged to give readers chatty, relatable advice on saving money. 

It was a kind of the golden age for personal writing on the internet, and these writers melded advice and personal narrative in a way that foreshadowed today’s influencers, but with a more lo-fi, DIY aesthetic. Starting in about 2008 and continuing for the next decade, these authors reached thousands of readers a day with tips on how to spend less and sock more away. There was Mr. Money Mustache, a brash “financial magician” who had retired at age 30 and believed ordinary people could save half or even 75 percent of their income. There was Trent Hamm of the Simple Dollar, an Iowa dad who shared his story of getting out of debt alongside recipes for cheap meals and homemade laundry detergent. There was my niche favorite, An English Major’s Money, by a young woman who shared my less-than-lucrative career path but who was nonetheless determined to achieve financial stability.

It wasn’t just old-school personal finance advice, it was a whole philosophical universe dedicated to the idea that by living on less, you could liberate yourself from the uncertainties of the economy and experience true freedom.

Collectively, I like to think of these writers as the frugalsphere.

Today, most of them are no longer blogging about saving money — some have gotten jobs in traditional media, while others have gone on to other careers entirely (or are simply enjoying early retirement). But their movement feels newly relevant today, as Americans struggle to afford necessities and face mounting anxiety over their economic future. So I decided to track down a bunch of frugality writers from that time, and see what they had to say about 2026.

One thing I wanted to know was why I wasn’t seeing the same outpouring of money-saving advice I’d seen in the wake of the 2008 crash. But I was also curious for bigger insights: What, if anything, is the equivalent of the frugalsphere in today’s inflationary era? And could the ethos of those optimistic coupon-clippers give us smarter ways to think about the unsettling new place we find ourselves in 2026?

What I found is that the frugalsphere still has lessons to teach us, but they’re not about reheating leftovers or washing out Ziploc bags. Instead, they’re about how to claim a sense of autonomy, even when our lives are buffeted by forces beyond our control.

The short, influential arc of the frugalsphere

The idea that you can achieve prosperity by carefully watching your spending is far from revolutionary, and self-help authors were extolling the virtues of frugality long before the Web 2.0 era. In the 1990s, for example, editor Amy Dacyczyn published a print newsletter called the Tightwad Gazette, teaching readers frugal tricks (Dacyczyn herself favored reusing aluminum foil) for the low price of $12 per year. 

But amid the upheaval of the Great Recession, when more than 15 million Americans found themselves unemployed in the worst crisis since the 1930s, a new generation of bloggers started offering advice about saving money, often directed at millennials starting their careers in a decimated job market.

“People were looking for something they could do,” Nicole Dieker Finley told me recently.

What Finley did was to start posting all her earnings and expenses on Tumblr around 2012, when she was trying to make it as an independent musician in Los Angeles. She soon caught the attention of the editors of The Billfold, a website launched the same year to cover money with a personal, relatable tone befitting the times. Billfold editors Logan Sachon and Mike Dang shared their student loan and credit card debt; Finley tracked her net worth and spending and wrote about her quest for financial independence. She later went on to a freelance career writing about money (including for Vox).

Kara Stevens, meanwhile, started the website the Frugal Feminista around 2012 while facing down student loans, credit card debt, and a tanking credit score: “It clicked to me that if I didn’t do something about it, I would be in this position of not being able to move forward in my life,” she told me.

Based in New York City, she shared tips for finding free events, cheaper dupes of popular brands, and deals on fancy hotels. “It was like, how am I living my Sex and the City life on a budget?” Stevens recalled.

As time went on, more bloggers joined the space, some of them already starting from a position of financial freedom. Kristy Shen and her husband Bryce Leung started the site Millennial Revolution after retiring in 2015 at age 31 with a seven-figure investment portfolio. 

“After 2008, people started freaking out and thinking that no job is safe,” Shen told me. “I think that’s when people started being more interested in finance.”

The message of the frugalsphere was that if you could leave cheaply enough and save enough money, you could weather any layoff — and eventually, not have to work at all. The bloggers of the era — many of them millennials aiming their advice at other millennials — tended to share a can-do attitude, a sense that with the right mix of care and planning, almost anyone could improve their financial situation.

Also, they wanted to stick it to the man

The frugalsphere also had a tinge of rebellion about it. “Americans tend to have a very up-down relationship with consumption,” said Helaine Olen, a longtime financial journalist and the managing editor at the American Economic Liberties Project, an anti-monopoly think tank. After 2008, the pendulum started swinging against buying stuff, and the frugality bloggers were leading the swing.

Their implicit message was often that by refusing to buy expensive things, you were pushing back against corporations that wanted to control you. Frugality was, at least to some degree, about sticking it to the man.

At their peak, some personal finance blogs were reaching thousands of readers a day and breaking through into mainstream media. Shen told me that Millennial Revolution got 15,000 page views the day after a post about the virtues of renting a home was picked up by the CBC. Shen and Leung, as well as Trent Hamm and other bloggers, got book deals and started to reach a broader audience.

But the culture soon began to shift. The written personal blog began to die out, replaced by more visually driven social media – and an influencer ethos that rewarded the acquisition of new possessions, rather than showcasing ways to do without. Today, social media is much more about celebrating consumption than questioning it. 

On TikTok and Instagram, “it becomes about showing perfection and showing a good life,” Olen said. “And part of a good life, as we define it in the United States, is spending money.”

How frugality lost its shine

Today, some frugality influencers have found a home on TikTok, and the deinfluencing trend of a few years ago shows there’s still an appetite for anti-capitalism, even in the age of short-form video. But overall, the cultural and economic winds have blown against frugality, frugalsphere writers and observers told me. 

As inflation rose in the 2020s, necessities cost more, but saving also became less attractive. More people made the calculation that “if I don’t take this trip this month, it’ll be more expensive next year,” Olen said.

Upheavals like the Covid pandemic gave some Americans “a grim outlook on money,” Stevens said. Their feeling was, “there’s no chance that any of us can be wealthy. What’s the point of saving anything?”

Today, tips like making all your coffee at home instead of going out for a little treat don’t resonate the way they once did. This time is fundamentally different from 2008: The economy is nominally “good” now, and unemployment is low, but everything from eggs to real estate feels more unaffordable than ever. 

“People say, The cost of living is so high, I need some joy,” Stevens said. “Like, You can’t deny me everything.”

What the frugalsphere can teach us now

When I talked to frugalsphere writers about today’s situation, I ended up realizing that even if some of their specific tips are no longer as applicable, their mindset still is.

At its best, frugality advice was always about adapting to your situation, whatever that might be. When rice is cheap, buy in bulk. When basil is expensive, use the leftover pesto you froze in an ice-cube tray. Nothing is cheap right now — and, to be honest, I have never had the energy to freeze pesto — but the basic idea stands.

“Frugality to me means intentionality.”

Kara Stevens

“Be flexible,” Shen says. Millennial Americans once worried about their jobs being outsourced. Now workers all over the world are worried about getting replaced by AI. No matter what, though, “you have to change with the times.”

For Gen Z, that might look like entrepreneurship and investing rather than a traditional career and saving for a home, Shen said. I can’t yet imagine what it will look like for Gen Alpha, but there’s something reassuring about the idea that flexibility is a skill we can learn, one that can help carry us through even the most macro of macroeconomic shocks. 

One big thing that’s changed since 2008 is the politics of personal finance. In the 2010s and 2020s, many critics of the frugality approach began to point out that without systemic change to lower the costs of housing, health care, and education, all the coupons in the world weren’t going to make much difference. Today, affordability isn’t just an individual concern — it’s the cornerstone of a lot of political debates.

But even as we look to systemic solutions, there’s another big lesson Americans today can take from the frugalsphere: Control what you can.

For Stevens, that looks like acknowledging that “within any system that has a bias toward corporations or the wealthy, we understand that things may not be fair,” she said. “That also doesn’t mean that you don’t have personal agency.”

Exercising that agency might mean being more mindful around retail therapy rather than cutting it out entirely, Stevens said: “If I know that I need these little quick boosts to make me feel good because work is stressing me out, can I carve out a part of my budget that allows me to do that without completely disrupting my financial goals?”

Stevens, for instance, cares a lot about her skin, so she spends money on skincare products that really work for her, and cuts back on things like purses that don’t matter as much.

“Frugality to me means intentionality,” Stevens told me. It’s about “living more aligned with your values.”

In today’s era of polycrisis, it feels downright insensitive to promulgate the idea that anyone can get rich with the right combination of tips and tricks. But most Americans make at least a few choices every week about where our money is going.

If we can make whatever choices we do have in a way that’s intentional, in line with our larger goals for ourselves and the world — maybe that’s a 2026 version of financial independence.

If you’re Gen Z and it feels like something is different this summer, you’re not alone. 

I’ve spent my career documenting — and living — this generation’s coming of age through reporting, focus groups, and surveys. More than anything else, and especially for younger Zoomers, it’s been characterized by the experience of the pandemic, which left many still feeling bitter and isolated even years later.

But lately, the vibes are very different. Performative pessimism is out. The summer of 2026 has been called a “Great American Sleepover” that will be known decades from now as “the good ole days” and “the best of times.” 

After years of post-pandemic malaise that saw young people’s mental health plummet as they opted for online engagement over offline opportunities, embraced a politics of doubt, and channeled their frustration into nostalgia for simpler times, nature is finally healing. A cohort whose coming of age was stunted by the chaos of 2020 is finally coming out of its shell. 

We’ve seen it packed movie theaters and record-smashing ticket sales for Spider-Man: Brand New Day and The Odyssey. We’ve seen it in sports, especially in New York City, where joyous people filled the streets for weeks shoulder to shoulder, first for the New York Knicks’ championship run and later for the World Cup that concluded just across the river. For the young adults whose defining life experience to this point was being trapped inside, the images of impromptu mass gatherings and fan celebrations resonated far beyond the five boroughs. 

But sports aren’t the only thing that has communities coming together in person as of late. Doves of young people have been lining up for froyo on any given night of the week, Love Island-obsessed observers have gathered in bars to watch the dating show, and despite dwindling patriotism, communities nationwide celebrated the country’s 250th birthday with hot dogs, fireworks, and fanfare. 

As one 25-year-old from Illinois told me, it’s the season of “summer-maxxing,” which means “enjoying every bit of summer and the perks that come with it.” 

In my own conversations and research, there’s a burgeoning sense that — for the first time in their lives — young people are driving the cultural moment themselves rather than having it inflicted upon them by older adults and events outside of their control. Some of the comments in this piece were shared in focus groups. Others came from a qualitative survey sent out to Gen Z-ers.

And while hope is a fragile thing, the implications could be profound. Through my work, I’ve tracked Gen Z’s loneliness and the fallout of the Covid-19 pandemic for years — examining how the damage has shown up in school, work, and politics, and even split my generation in two. The national conversation about young people has been just as dark, featuring stories overwhelmingly about what they aren’t doing: Hanging out with friends, hooking up, taking risks. 

A generation dismissed as terminally online is taking its politics offline as well, making their presence loudly known in primaries by walking neighborhoods, knocking on doors, and turning out voters.

In recent years, post-pandemic trauma expressed itself in a craving for simpler times that fueled Gen Z’s nostalgia era. Young adults daydreamed about how good things must have been back in the 1990s, or in the early 2000s, or even within their own lifetime, before the pandemic, before the 2016 election, and especially before smartphones, social media, and AI took over the world. This nostalgia even helped power some young voters’ rightward shift in 2024, as they embraced a candidate who ran on a campaign to bring back the pre-pandemic past. 

But this summer, the summer of 2026, is a moment of its own, and it involves engaging with the present rather than wishing we were somewhere else. 

Take the movies, an industry that doomsayers warned was in danger of extinction after the pandemic trained a generation to stay inside with streaming devices.

Instead, this summer has seen two massive box-office hits — Obsession and Backrooms — that were made by young people, for young people, and saw young audiences turn out in droves for repeat in-person viewings. Obsession, directed by 26-year-old Curry Barker, drew on Gen Z’s anxieties about dating and intimacy. Backrooms, directed by 21-year-old Kane Parsons, drafted off a YouTube horror meme about people trapped in (generational metaphor alert) a never-ending indoor space. 

It’s probably not a coincidence that these movies came out at a time Gen Z was confronting their post-pandemic fears of isolation head-on. Again and again in focus group conversations across the country, I’ve heard from young people who are looking to log off their devices and spend time together in-person. 

“People seem a lot more interested in experiences rather than just like going out to go out,” a 17-year-old girl from Arkansas said. “People want to go…to concerts, go play pickleball, go to farmers market[s], go thrifting, go hiking, go on a coffee run. I think it’s just kind of more looking for community as opposed to entertainment.”

There are other signs of behavioral shifts. After years of data showing Gen Z drinking less than their adult peers, they are now keeping up with older generations: 74 percent of Gen Z reported drinking alcohol in March 2026, almost on par with the 76 percent rate for boomers, according to an IWSR report released in July. The report also found something very telling — rather than drinking to unwind, as has been the case for older generations, Gen Z is drinking more to socialize and to be with others.

In cultural events around the country, you can see this appetite for in-person gatherings that force young adults to unplug. The generationally beloved Phoebe Bridgers hosted phone-free concerts where she required her fans to put their devices in Yondr pouches. And there are impromptu “lie down” gatherings meant to encourage a collective, communal pause that are happening in Central Park. To keep up with this shift, Tinder — the epitome of online dating — will launch in-person dating events in 26 cities by the end of September, signaling that any business interested in capturing Gen Z must now have an in-person component. 

A generation dismissed as terminally online is taking its politics offline as well, making their presence loudly known in primaries by walking neighborhoods, knocking on doors, and turning out voters. When I ask focus groups about which politicians catch their attention, they’ve brought up figures like James Talarico, Jon Ossoff, and Marco Rubio, who they identify as having a more energetic and optimistic approach. Young people have often mentioned New York City Mayor Zohran Mamdani as a model politician, and one of the traits I hear consistently that they like about him is that he is out in the street and easy to bump into. His online videos also emphasize him out in the world, interacting with constituents, or walking down the entire island of Manhattan.

“I think there’s a stronger presence of people coming together, whether it is for their favorite sports team with the NBA Finals and World Cup (let’s go Knicks!), stronger political activism, especially with primaries coming up in states like New York, and simply attending events like Pride parades,” one 30-year-old man from Brooklyn said. 

There’s no doubt that we’re experiencing something new. The question then becomes whether it’s a momentary trend: Where does the IRL energy go when it gets cold, dark, and college kids are back in school? 

As the reality of fall intrudes, the vibes could certainly shift. And it will take time to see whether these nascent cultural trends show up in hard data — one thing I’ll be watching is whether Gen Z’s trademark self-reported anxiety, unhappiness, and loneliness start finally reversing.

But I do see a world in which some of the Gen Z summer trends persist — perhaps we’ll see more in-person NFL watch parties or fantasy football drafts, community organizing for midterm election candidates, and more energy around in-person celebrations for Halloween or Friendsgiving.  

My bet is the post-nostalgia era is here to stay. Just as Boomers were permanently changed by the “Summer of Love” — a period some history-minded young people have compared this season to — this is going to be a core memory going forward. It’s our time now, and we’re not going back inside.

In late July, Universal and IMAX extended 70 mm IMAX showings of The Odyssey through mid-September. In New York City, these screenings basically sold out immediately, save for a few seats in the front row. People trekked to AMC Lincoln Square 13 — one of only 25 theaters in the US, 41 in the entire world, that can screen the film in this format — to wait in line to buy tickets in person because the app was constantly crashing. Similarly, September screenings across the country are still packed. 

This phenomenon signals to me that there are a lot of people (Virgos? Oracles?) who have a better grasp of the future, specifically the 30 days between August and September, as well as the concept of an upcoming Wednesday, than I will ever possess.

I also see it as a sign that scarcity is the most powerful social currency of the moment. Like a cup of frozen yogurt people wait hours for or a Trader Joe’s tote that incites a hot frenzy, seeing Christopher Nolan’s latest masterpiece in its intended format is just the latest and greatest example of how access to something limited or exclusive has become a dominating cultural force.   

Why seeing The Odyssey in 70 mm IMAX is an odyssey in itself

Paul Hardart, a professor at NYU Stern School of Business who specializes in the marketing of film and television, sees the demand to see The Odyssey in this specific format as a collision between scarcity, and high value cultural currency. Hardart said that in order to really understand why the movie has become such a phenomenon, you have to understand that there’s a higher bar for going to see a movie in a theater than there used to be. 

“Coming out of the pandemic, what has changed — particularly in the movie business and particularly the theatrical movie exhibition experience — is people go to comedies, dramas, and adventure movies less frequently,” Hardart told me. One of the big motivators to get people off the couch and into a multiplex is the promise that the movie will be an experience.

“To get me out of my home, it’s got to be worth it,” Hardart said of the current mentality, adding that The Odyssey is exactly this type of movie. “I want to have an experience and I’m going to go with my friends and you know what, I might pay extra for it. I’m going to go see The Odyssey the way it was intended.” When you’re able to get an 70 mm IMAX ticket, not only do you get to see this great work of art, but you also get to tell everyone you were able to do so despite it being so difficult. 

“I saw it in a regular theater and I felt like a loser,” Hardart added. It’s not that the regular, non-70-mm viewing didn’t have great performances, or beautiful cinematography, or any of the factors that contributed to all of the critical adulation that the movie’s received. Hardart thought it was fantastic. But he wanted to see it in the way Nolan intended, in a format that’s only available in 41 rooms in the entire world.  This experience-first approach isn’t specific to movies; Hardart is also seeing it happen at concerts, festivals, and any kind of in-demand, exclusive event.

“If you go to the US Open, they have those Honey Deuce drinks; so many people there are taking selfies of themselves drinking these $25 drinks,” he said. “I don’t know if they’re there for tennis. But I think some of them are there to say, ‘I went to the Open, I had the experience, and I drank this bespoke drink, and I want you to like me or respect me or think I’m cool.’” 

The dopamine-fueled reason we want things that no one else has

Jared Watson, an assistant professor of marketing at NYU Stern, studies the things people buy to feel cool, and the broader subject of consumer culture at large; he introduced me to a concept called signal theory. In the context of consumer behavior, it’s how we try to communicate to others that we’re hip, or smart, or likable — any trait that might not be immediately observable —  through the things we buy and possess. Thanks to social media, our experiences have become as visible and effective as material objects in telegraphing an identity.  

“We’re all constantly trying to show people who we are and what we’ve done and the life that we have,” he told Vox. “And scarcity is really gasoline on that fire.” 

There’s still massive social currency to be mined.

The more difficult it is to have an experience, the higher its social value. Watson said that humans get much more satisfaction when they’ve experienced or purchased something before everyone else has. Once everyone has access to the thing we’re using to signal, its social value goes down. 

This may help explain The Odyssey’s 70 mm IMAX phenomenon. Because there are a limited number of showings, seats, and theaters, it’s going to be a long time before the number of fans who’ve seen it in 70 mm outnumber the people who haven’t, if that day ever comes. There’s still massive social currency to be mined. 

There’s also the fact that humans love the anticipation of getting our hands on something, maybe even more than obtaining it, according to Ginger Pennington, an associate professor at Northwestern University. Pennington studies human motivation and consumer psychology. 

 “The pleasure that you’re feeling is more intense right before you get the thing you’re coveting than when you get or when you actually have it and are able to consume it or use it,” she said, explaining that the positive hit resembles the pleasure some people get from gambling, and is part of what drives shopping addiction. 

Essentially, getting to the front of a frozen yogurt line is going to be more satisfying than whatever the frozen yogurt tastes like; nabbing a Trader Joe’s bag is going to make us much happier than stuffing the tote. And perhaps finally getting tickets to The Odyssey will give you more pleasure than actually seeing The Odyssey. Though, to be clear, I do not pretend to know how intensely one can love The Odyssey or Christopher Nolan. I just know I need to see it in 70 mm.

Young American men are in trouble. They are the loneliest demographic in the Western world. Their social circles are shrinking. At all ages, they are significantly more likely to die by suicide than their female peers.

But if there’s one place where young American men are likely to congregate, regardless of race or political beliefs, it’s the world of video games. According to a 2017 Pew study, 72 percent of men under 30 say they play video games often or sometimes. The gaming world is a place they feel safe — which means it is full of untapped potential for building community, says video game expert George E. Osborn.

Osborn is the founder of Half-Space Consulting, which advises governments and NGOs on the social impact of video games. In his new book Power Play: Video Games, Politics, and the Battle for Global Influence, Osborn shows that anti-democratic powers and violent actors have been exploiting the video games space for decades. 

Most visibly in the US, a large community of gamers rallied together in 2014 to harass prominent female game developers and gaming journalists. They forced multiple women into hiding while claiming that they were fighting for ethics in gaming journalism. The campaign, which became known as Gamergate, made so much noise that it attracted the attention of Steve Bannon, who organized supportive coverage on Breitbart and treated it as a recruiting ground for the racist, misogynistic, and anti-democratic alt-right movement. As Osborn documents in Power Play, the communities that sprang up to organize Gamergate became pipelines to the communities that organized the deadly “Unite the Right” rally in Charlottesville in 2017.

“Bannon’s intuitive understanding of the power of toxic gamer communities created the digital-activist base, the tactical playbook and the strategic approach necessary for ‘mainstreaming’ populist far-right ideas within the online media ecosystem,” Osborn writes in Power Play. 

Yet Osborn also writes that there is a vast potential for good within gaming communities. He shows that gaming can help people understand pandemics and autocracies and climate change; that it can connect people to one another and make people less lonely.

I wanted to understand what those possibilities meant for the young men who are so invested in video games and are in so much trouble, so I called Osborn up to discuss. Our conversation has been edited for length and clarity.

You write in the book that there’s always been a wide audience for video games across demographics. But when people talk about gaming’s traditional audience, they’re mostly talking about young men. How does that happen?

In the 1980s and the 1990s, video games were not sold on the basis of who wants to play. They were sold on the basis of who buys technology. There were two primary audiences: families with kids, and young men buying tech.

Then a couple of things all happen at the same time: The introduction of the smartphone in about 2007; the emergence of digital storefronts like Steam and The App Store; the financial crash. Video games companies start to think, “We have done very well in a small number of markets. What happens if we start reaching a wider base?”

The number of people around the world playing video games goes from hundreds of millions to about the 3.6 billion that we see today. When you look at the gender split of players, roughly speaking, the gender split in the US is now nearly 50/50, and the average age of a player is much closer to late 30s, early 40s. It creates this space where that traditional audience of younger men start to feel left behind, like the industry is moving away from them. 

What’s really interesting, when you look at this in the context of the research that I’ve done, is that it creates a grievance culture amongst some of those younger men. That ultimately opens up the opportunity for someone to begin taking advantage of it. 

In the book, you talk about how there are a few different things that make gamers an attractive group for political actors to try to target. One of them was this idea that gamers are highly likely to act on their beliefs. What does that mean in this context?

The nature of play — I think it was actually the writer Naomi Alderman who talked about this — is that it encourages agency. If you compare it to other creative mediums, even the most linear of video games, a player [moves] through it in their own way. They don’t have exactly the same experience as everybody else.

It encourages people to really believe in themselves as participants in the medium. They are not solely consumers of the culture, and therefore they feel that they have a greater say over what happens.

Then it [also] creates a strong community tie between the people who are involved in play. The sheer breadth of choices available to you brings the community together to talk about how to play, and ultimately the way it makes them feel. [That’s] part of the reason why these information spaces are so powerful.

Along those lines, you document Steve Bannon getting interested in Gamergate and leveraging that phenomenon to help create the alt-right of the 2010s. A lot of the political groups you discuss who try to intervene with gamers use top-down propaganda, but it seems like Bannon’s really interested in them as a specific community, right? He’s not making didactic games about why they should support Trump. He’s talking about how they’re heroes fighting for ethics in gaming journalism. What’s the effect of that choice?

It creates a sense of power within those communities they may not have otherwise felt. If you compare it to the last US election, Kamala Harris’s campaign created an officially branded Fortnite experience. It promised players a chance to engage with the campaign’s key pillars. Which is exactly the kind of top-down, non-inclusive communication where you are going into someone else’s arena and putting something in there that would never emerge from that space organically. 

Obviously the message doesn’t work. It ends up reeking of elitism.

I think what Bannon realized is this group had its own things that it felt were important. Particularly within Gamergate — I think that they were talking about things that were toxic, lies, untrue. But it coalesced to create an identity around that group. Bannon realized that ultimately, if you promoted it upwards, then they would feel part of this wider community.

A lot of the most visible political activity associated with gamers in the US has been pretty dark and even quite violent. I’m thinking of not just Gamergate, but the Charlottesville riots and the assassination of Charlie Kirk. Is it possible to harness the energy of this community toward more constructive ends?

I just came back from Games for Change in New York. It’s a big festival in the US every year. There’s satellite events around the world. It looks at the way that these dynamics can be used for various social goods, provided that you are actually leaning into them. 

The UN’s Playing for the Planet Alliance reached hundreds of millions of people by asking game makers to create content on their behalf [about climate change]. It wasn’t a case of saying, “We need you to create games that do this specific thing.” It was much more, “Here is a theme. Create something that works for your community.” 

When more elite institutions chose to engage with games communities on their terms, they tended to achieve much bigger reach, at a much lower cost, and with much more positive outcomes than any of the hostile uses that I talk about in the book. And frankly, because these communities have often felt pushed to the side, they also feel particularly validated when someone comes into their space and says, “Actually, we do recognize your power. We would love to work with you to make the most of it.”

How do you know that the effects are so much bigger than something like Gamergate? Are there numbers you can cite?

One of the best examples was in 2022, when Epic Games did fundraisers for the Red Cross through things like Fortnite. Their game store raised more money for the charity and its work in places like Ukraine than were donated to it by the countries of France or Italy.

You’re talking about this potentially massive effect, but thus far it’s tended to be sporadic. When you compare it with a lot of the examples that I look at in the book, especially Saudi Arabia’s attempt to use video games within its soft power strategy, there’s clearly much more strategic thinking [from the Saudis] about the way to influence these communities. 

That’s one of the missing pieces of the puzzle in a lot of democracies. We have the ingredients for this to work really effectively, but at the moment it feels like we’ve not got anyone cooking.

I came away from this book with this sense that for a lot of young men, video game communities are a precious space where they feel seen in a way that they don’t in a lot of the rest of society right now. What makes this world so special to these men?

Video games have always been social. With young men in particular, because the medium has been so closely attuned to them, [many of them] are going to find their groups and communities within these worlds. 

This is me speaking more from British experience, of thinking what it’s like to be a man growing up in the UK. We’ve seen significant cutbacks in local investment into things like community groups, clubs, youth spaces. Online communities and online game communities have helped replace a lot of things taken out of civil society. 

The loss of investment in third spaces, especially for teens, is definitely something we’re seeing in the US as well.

You write about campaigning to combat the loneliness epidemic in the UK through gaming outreach. How did that initiative come together?

I was contacted by the government around April 2020, during the pandemic. I was working at the time as the head of campaigns and communications at Ukie, the video games trade association. 

Quite early into my job, I realized all of the different games companies that formed Ukie had very different cultures. You couldn’t tell them what to do, because frankly, it wouldn’t work. 

So I went in and said, “Okay, we’ve got an ask. We want you to encourage your communities to find one hour to sit down in their favorite online game with a friend, family member, or co-worker, and ask them how they’re doing.”

Different companies took part in the campaign. But they went out to their communities with different messages. Some of them were going out with streams from their community managers. Some of them were just replicating the messaging that we had. Some of them were doing more dedicated messages to players via games. 

It’s not particularly scientific, so take it with a pinch of salt. But afterwards, the polling firm Ipsos MORI found that across Europe, players in the UK were roughly 10 percentage points more likely to say that video games made them feel less lonely than other parts of the continent. 

Looking back on that, I can see that a lot of the ideas I’ve had, about how games can be an information ecosystem and about how you effectively communicate to it, can be found in that campaign. 

It’s about decentralizing the message. It’s allowing people to take it and run with it. That’s when it becomes really effective.