Facebook and Instagram operator rejects EU claim that efforts to moderate content are 'insufficient'.

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Welcome back to The Daily’s Sunday culture edition, in which one Atlantic writer or editor reveals what’s keeping them entertained. Today’s special guest is Walt Hunter, a contributing editor who focuses on poetry and fiction. His past stories cover AI’s poor attempts at writing poetry, the intimate work of Louise Glück, and Jorie Graham’s musings on the demise of the world.

Walt recently became a father, and his 15-week-old son, Julian, has already exposed him to a new catalog of media, including the book Spring Is Here and “newborn eats dad’s nose” videos. When Walt isn’t watching kid-friendly YouTube videos, he enjoys reading Ali Smith’s clever and engrossing novels; binge-watching Blue Lights, a police show set in Belfast; and listening to “A Day in the Water,” by Christine and the Queens.

First, here are three Sunday reads from The Atlantic:

The accidental speaker Why your vet bill is so high The happiness trinity

The Culture Survey: Walt Hunter

The television show I’m most enjoying right now: My favorite show in a long, long time (well, at least since the previous season of Shetland ended) is Blue Lights (out now on BritBox). The show, which is set in Belfast, follows three rookie police officers and their more seasoned partners. It’s a nail-biter with romance and some comic relief. Perfect for binge-watching during the first few weeks of our son’s 3 a.m. meals.

An other online creator that I’m a fan of: For the past 100-plus days since Julian was born, I’ve been exploring the universe of “newborn eats dad’s nose” videos. In doing so, I have broken Instagram and now receive only recommendations of videos of people playing the piano with chickens on their heads or pushing seals around in carts. [Related: The algorithm that makes preschoolers obsessed with YouTube]

Something delightful introduced to me by a kid in my life: Julian recommends the book Spring Is Here for the ever-surprising calf cameo near the end.

Best novel I’ve recently read, and the best work of nonfiction: Ours, by Phillip B. Williams, a novel about a town of freed slaves in 19th-century Missouri. For a nonfiction option, Winters in the World, by Eleanor Parker, is an enchanting book about the seasons and weather of medieval England. Can I include some poetry? Right now I’m reading the work of Ama Codjoe, Divya Victor, and Jenny Xie while also exploring some of the 19-century poets published by The Atlantic—Celia Thaxter, for example, who wrote beautiful descriptive verse about the coasts of New England.

An author I will read anything by: Ali Smith. I started with her quartet of seasonal novels right after Autumn came out, and then went back to her earlier works. She has a reputation for clever wordplay, which is certainly a feature of her style. But she would be hard to categorize as a postmodernist; she’s really just an incredible novelist in the long line of Laurence Sterne, Charles Dickens, George Eliot, Virginia Woolf, and Toni Morrison, with some Muriel Spark thrown in. Her characters struggle with the inhospitable conditions of the present by insisting on friendship and forgiveness. And there’s a beautiful touch of allegory in her work—characters can have names such as Lux and Art—which I take to be a reminder of the place of stories in our everyday lives. [Related: Ali Smith spins modernity into myth in Winter.]

The last museum or gallery show that I loved: This isn’t really a museum, but my partner, Lindsay, and I recently visited the Eden Theatre in La Ciotat, France, and watched a few Lumière films (the train pulling into La Ciotat Station is one of the first films, along with the lesser-known Repas de Bébé). I like very small and focused museums and shows: Last summer, the Institut du Monde Arabe, in Paris, had an exhibition on Jean Genet’s suitcases and papers. Genet’s Our Lady of the Flowers is one of my favorite novels, and it was neat to see some of his ephemeral scribbles. Another recent favorite was the Judson dance exhibition at the the Museum of Modern Art in New York City a few years back.

A quiet song that I love, and a loud song that I love: I was living in Greenville, South Carolina, in 2017 and went to a random show in a record store around the corner from our house. A band called Friendship, from Philadelphia, played a quiet song called “Skip to the Good Part.” It’s a barroom love song, and the singer wistfully mumbles encouraging lines such as “Our days are full of shit and so few.” The loud song is just a song I play loud, and that’s “A Day in the Water,” by Christine and the Queens. This song is for a cool morning in early summer, or a too-hot afternoon in late summer. It pulls you out of your reality and into a space that feels like pure music. Music for me is either ruefulness or transcendence.

A favorite story I’ve read in The Atlantic: Ann Hulbert’s story on the theme of marriage in George Eliot’s novels. It’s one of the best pieces of literary criticism I’ve read in many years. Ann argues that marriage opens rather than forecloses possibilities for experimentation in Eliot’s fiction. I love the idea that a novel might encourage us to rethink the coordinates of reality and to treat what seems permanent as susceptible to revision and change.

The last thing that made me cry: The film Petite Maman, by Céline Sciamma, a short fable in which a little girl meets her mother as a little girl. It’s a perfect work of art. In my favorite scene, the two kids share headphones and listen to a song called “The Music of the Future,” which then plays in the film as they take a canoe out to a mysterious pyramid. Almost everything I like about art is in this scene.

A poem, or line of poetry, that I return to: “And then I start getting this feeling of exaltation.”

The Week Ahead

The Idea of You, a romantic-comedy film starring Anne Hathaway as a single mother who starts a whirlwind relationship with a famous singer (premieres on Prime Video on Thursday) The Veil, a spy-thriller miniseries, starring Elisabeth Moss, about two women who are caught in a dangerous web of truth and lies (debuts Tuesday on Hulu) Mean Boys, a collection of essays by Geoffrey Mak about our societal thirst for novelty (out Tuesday)

Essay

Gregory Halpern / Magnum

Why a Dog’s Death Hits So Hard

By Tommy Tomlinson

My mom died six years ago, a few hours after I sat on the edge of her bed at her nursing home in Georgia and talked with her for the last time. My wife, Alix, and I were staying with my brother and his wife, who lived just down the road. My brother got the phone call not long after midnight. He woke me up, and we went down to the nursing home and walked the dim, quiet hallway to her room. She was in her bed, cold and still. I touched her face. But I didn’t cry.

Two years earlier, the veterinarian had come to our house in Charlotte, North Carolina, to see our old dog, Fred … We had him for 14 and a half years, until he got a tumor on his liver. He was too old for surgery to make any sense. Alix and I held him in our laps as the vet gave him two shots, one to make him sleep, the other to make him still. All three of us cried as he eased away in our arms.

By any measure, I loved my mom more than our dog … So why, in the moment of their passing, did I cry for him but not for her?

Read the full article.

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Even by the standards of Congress, the past few weeks have been a lesson in hypocrisy. Last Wednesday, President Joe Biden signed legislation that will require TikTok’s Chinese owner, ByteDance, to sell the app or face a ban in the United States—all over concerns that the Communist Party of China uses the app for surveillance. Yet just a few days earlier, Biden had renewed a law synonymous with American surveillance: Section 702.

You may never have heard of Section 702, but the sweeping, George W. Bush–era mandate gives intelligence agencies the authority to track online communication, such as text messages, emails, and Facebook posts. Legally, Americans aren’t supposed to be surveilled through this law. But from 2020 to 2021, the FBI misused Section 702 data more than 278,000 times, including to surveil Americans linked to the January 6 riot and Black Lives Matter protests. (The FBI claims it has since reformed its policies.)

The contradiction between TikTok and Section 702 is maddening, but it points to lawmakers’ continued failure to wrestle with the most basic questions of how to protect the American public in the algorithmic age. It’s quite fair to worry, as Congress does, that TikTok’s mass collection of personal data can pose a threat to our data. Yet Meta, X, Google, Amazon, and nearly every other popular platform also suck up our personal data. And while the fear around foreign meddling that has animated the TikTok ban has largely rested on hypotheticals, there is plenty of evidence demonstrating that Facebook, at least, has effectively operated as a kind of “hostile foreign power,” as The Atlantic’s Adrienne LaFrance put it, with “its single-minded focus on its own expansion; its immunity to any sense of civic obligation; its record of facilitating the undermining of elections; its antipathy toward the free press; its rulers’ callousness and hubris; and its indifference to the endurance of American democracy.”

[Read: The largest autocracy on Earth]

Congress has largely twiddled its thumbs as social-media companies have engaged in this kind of chicanery—until TikTok. ByteDance is hardly a candidate for sainthood, but who would want to beatify Elon Musk and Mark Zuckerberg? Abroad, America’s surveillance draws much of the same political condemnation Congress is now levying at China. The privacy advocate Max Schrems repeatedly sued Facebook to stop the company from sharing Europeans’ data with the U.S., where the information could be searched by intelligence agencies. He won multiple times. Last year, European Union regulators fined Meta $1.3 billion for transferring Facebook user data to servers in the United States.

Congress’s tech dysfunction extends well beyond this privacy double standard. The growing backlash to platforms such as Facebook and Instagram is not aimed at any of the substantial issues around privacy and surveillance, such as the ubiquitous tracking of our online activity and the widespread use of facial recognition. Instead, they’re defined by an amorphous moral panic.

Take the Kids Online Safety Act, an alarmingly popular bill in Congress that would radically remake internet governance in the United States. Under KOSA, companies would have a duty to help defend minors from a broad constellation of harms, including mental-health impacts, substance use, and types of sexual content. The bill might actually require companies to gather even more data about everything we see and say, every person with whom we have contact, every time we use our devices. That’s because you can’t systematically defend against Congress’s laundry list of digital threats without massive surveillance of everything we say and every person we meet on these platforms. For companies such as Signal, the encrypted-messaging app that political dissidents rely on around the world, this could mean being forced to operate more like Facebook, WhatsApp, and the other platforms they’ve always sought to provide an alternative to. Or, more likely, it would mean that companies that prioritize privacy simply couldn’t do business in the U.S. at all.

Perhaps the biggest protection Americans have against measures such as KOSA is how badly they’re designed. They all rest on proving users’ age, but the truth is that there’s simply no way to know whether someone scrolling on their phone is a teen or a retiree. States such as Louisiana and Utah have experimented with invasive and discriminatory technologies such as facial recognition and facial-age estimation, despite evidence that the technology is far more error-prone when it comes to nonwhite faces, especially Black women’s faces.  

But these misguided bills haven’t completely derailed lawmakers pushing real reforms to U.S. mass surveillance. Within days of the House passing the TikTok ban and Section 702 renewal, it also passed the Fourth Amendment Is Not for Sale Act, which closes the loophole that lets police pay companies for our data without getting a warrant. Yet the bill now finds itself in limbo in the Senate.

Regulating technology doesn’t have to be this hard. Even when the products are complex, solutions can be shockingly simple, banning harmful business and policing practices as they emerge. But Congress remains unwilling or unable to take on the types of mass surveillance that social-media firms use to make billions, or that intelligence agencies use to grow their ever-expanding pool of data. For now, America’s real surveillance threats are coming from inside the house.

Xiaohongshu has become the go-to platform for young women to discuss everything from fashion to domestic violence.