For Lucca Baila’s third birthday, his mother, Morgan, knew that he didn’t want balloons or cake or streamers. He wanted Lamb Chop, a stuffed-animal version of the white-and-red puppet from a popular 1960s TV show, and he wanted lots of them. Morgan, a 32-year-old from New York, bought eight small Lamb Chops and turned her apartment into a DIY–Lamb Chop station. Guests got to work on creating custom Lambys, decorating the toys with hats and scarves from Christmas-themed doll kits.

Lucca, a fluffy brown mop of a dog, was then presented with new versions of the toy, one by one. No matter how many times a new Lamb Chop appeared in front of him, his reaction was the same: bouncing, hardwood-floor-scuttling excitement as he accepted each into his mouth and collected them in a pile. Not only did he pose for photos with his new puppet posse, but his “girlfriend”—a jumbo-size Lamb Chop he carries with him everywhere—was also in attendance.

Ask any random dog owner and there’s a good chance they’ll tell you: Lamb Chop is their dog’s favorite toy. They’ll say it with the confidence of having heard it directly from the dog itself. After witnessing my sister’s dog’s dedication to the toy, I spoke with more than 10 dog owners, all of whom were quick to send me pictures, videos, and anecdotes about their own dogs’ seemingly inexplicable Lamby love. One person told me she routinely finds Lamb Chops that her dog has stolen from other dogs’ homes. Another said that her labradoodle has three Lamb Chops but shows particular fondness for the original one, which she’s had for more than five years. This adoration is also a common subject on social media. “Why is no one talking about the dog cult?” the content creator Meredith Lynch asks her followers in a TikTok video before pointing to an image of Lamb Chop. “And this is their leader.”

The numbers seem to prove Lamb Chop’s dominance: According to data shared with me by the pet superstore Chewy, Lamb Chop is the site’s most popular plush dog toy and its second-most-popular dog toy of any kind. Thousands of customers have the toy on autoship. More than 20 iterations of Lamb Chop exist, including Tie-Dye Lamb Chop, Nautical Lamb Chop, and Rainbow Lamb Chop. Stores sell small-size Lamb Chops (six inches), medium-size Lamb Chops (10.5 inches), and jumbo-size Lamb Chops (24 inches)—not to mention Lamb Chop dog costumes, Lamb Chop dog beds, and Lamb Chop food bowls.

The dog market offers thousands of dog toys; Lamb Chop is the only one that many owners seem to treat with the same obligatoriness as they do a collar and leash. My big question is: Why? In pop-cultural terms, Lamb Chop is something of a has-been—she hasn’t been a major presence in the human-entertainment universe for years. In fact, some owners told me they had no knowledge of Lamb Chop ever being anything other than a dog toy. What makes pet owners so sure that buying not just one Lamb Chop but multiple Lamb Chops is money well spent? And is it really possible that dogs, which can be big or small, playful or shy, hunters or herders, could nevertheless share a preference for the exact same plush toy?

For many years, before she featured prominently in pet stores, Lamb Chop was better known on the hands of Shari Lewis, the red-headed puppeteer and ventriloquist. In 1956, the duo made a guest appearance on the children’s CBS series Captain Kangaroo, and eventually, they starred in two TV programs, The Shari Lewis Show in the ’60s and Lamb Chop’s Play-Along in the ’90s. After Lewis’s death in 1998, her daughter, Mallory, took over puppet duties. But Mallory told me that she was not responsible for Lamb Chop’s leap from children’s entertainer to dog’s best friend. The media company Dreamworks owns the Lamb Chop trademark, and the commodification of Lamb Chop seems to have begun sometime after 2008, when Dreamworks offered Lamb Chop’s image to the pet-toy supplier Multipet.

Dog toys, Lamb-ish or not, are necessities. “Playing with toys on their own fulfills dogs’ need to do things like chew, find food, tug … all of which are normal behaviors,” Zazie Todd, the author of Wag: The Science of Making Your Dog Happy, told me in an email. And dogs can have favorite toys, Todd said, depending on their favorite activities—dogs with more energy may prefer to chase a ball, whereas puppies just starting to grow teeth may become attached to a chew toy.

[Read: Dogs are entering a new wave of domestication]

Lamb Chop, incidentally, can fulfill many biological needs for many different kinds of dogs: Big dogs can get big Lambys, and small dogs can get smaller ones. Dogs who prefer to cuddle their toys can find in Lamby a soft companion, and dogs who prefer to destroy them can make quick work of the plushie. Plus, Lamb Chop resembles an animal, which can be enticing—dogs used to hunt. Some dogs, likely with “softer” prey drives, may enjoy simply carrying around Lamb Chop, Christopher Blazina, a psychologist and a co-editor of The Psychology of the Human-Animal Bond, told me. (Sometimes, they carry Lamb Chop to their humans.) Other dogs, such as huskies, malamutes, and terriers, have been bred for their high prey drives and may treat their Lamby more ferociously. Either way, no dog is excluded from the club.

The animal urge to eat Lamb Chop also partly explains the high sales. According to Chewy, many customers buy more than five Lamb Chops a year. Multiple dog owners have shown me the remnants of well-loved Lambys; one owner, in a valiant attempt at frugality, had even tried repairing the toy, until all that remained was an earless, faceless sack held together by string.

But the pet experts I spoke with suggested another, more profound reason for Lamb Chop’s popularity: Dogs may love Lamb Chop because they think their people love Lamb Chop.

Humans and dogs have spent much of their time on Earth together; evidence of shared burials goes back to at least the Stone Age. For most of this time, the relationship was strictly professional: Dogs hunted and herded in exchange for humans’ care. As both “co-evolved,” though, that work shifted, Blazina told me. Although dogs can still aid humans as service dogs or in tasks such as search-and-rescue missions, the average domestic dog’s job “is to be with us and really to be attuned” to our emotions, he said—and “our job is to be with them in the same way.”

In other words, we can’t know for sure that dogs really love Lamb Chop, but we like to think they do—and that might be enough. When we hand a dog the toy, our face may betray a belief that we’re giving the dog something enjoyable, a belief that’s affirmed when the dog sees our excitement and gets excited too. “It ends up being a kind of positive-feedback loop,” Blazina said, “where they get happy and we get happy and then they get happy and then it just keeps going.”

[Read: Why a dog’s death hits so hard]

The truth is, Lamb Chop may just be tactile evidence of this projection and mirroring. In 2020, the U.K. dog-welfare charity Dogs Trust polled 2,000 dog owners; 75 percent said they wished their dog could talk, and two of the top questions respondents had for their dogs were “Are you happy?” and “How can I make your life happier?” In pursuit of a response, many humans imagine all kinds of narratives—that their pets know they’re being abandoned for a family vacation, for instance, or that they feel personally rejected when someone doesn’t share with them a bit of steak from the table. Some of the theories are rooted in veterinary science; other behaviors may be more coincidental.

Regardless of whether humans or dogs are responsible for the Lamb Chop–shaped bridge between us, what matters is what the toy represents. Last year, when Cory Stieg knew it was time to say goodbye to Mookie, the Australian shepherd she’d had since she was 19, she turned to Lamb Chop. The days before a pet’s death can be some of the most helpless for their humans. For Stieg and her husband, the jumbo-size Lamb Chop they bought for Mookie offered an assurance that, amid his declining health, they could do one last thing to bring him joy. In a video of the moment, Mookie stares in wide-eyed anticipation as Stieg’s husband removes the tag. He uses his remaining energy to reach for the toy as it dangles above him, finally getting hold of it by the belly. Lamb Chop was probably the last thing Mookie saw before passing away. “He quite literally had her on his deathbed,” Stieg told me. Lamb Chop was there at precisely the moment an entire little family needed her—a symbol of dogs and humans’ shared, ancient desire to make each other happy.

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This is an edition of The Atlantic Daily, a newsletter that guides you through the biggest stories of the day, helps you discover new ideas, and recommends the best in culture. Sign up for it here.

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 Jen Balderama, a Culture editor who leads the Family section and works on stories about parenting, language, sex, and politics (among other topics).

Jen grew up training as a dancer and watching classic movies with her mom, which instilled in her a love for film and its artistry. Her favorites include Doctor Zhivago, In the Mood for Love, and Pina; she will also watch anything starring Cate Blanchett, an actor whose “ability to inhabit is simply unmatched.”

The Culture Survey: Jen Balderama

My favorite blockbuster film: I’m grateful that when I was quite young, my mom started introducing me to her favorite classic movies—comedies, romances, noirs, epics—which I’m pretty sure had a lasting influence on my taste. So for a blockbuster, I have to go with a nostalgia pick: Doctor Zhivago. The hours we spent watching this movie, multiple times over the years, each viewing an afternoon-long event. (The film, novelty of novelties, had its own intermission!) My mom must have been confident that the more adult elements—the rape, the politics—would go right over my head, but that I could appreciate the movie for its aesthetics. She had a huge crush on Omar Sharif and swooned over the soft-focus close-ups of his watering eyes. I was entranced by the landscapes and costumes and sets—the bordello reds of the Sventitskys’ Christmas party, the icy majesty of the Varykino dacha in winter. But I was also taken by the film’s sheer scope, its complexity, and the fleshly and revolutionary messiness. I’m certain it helped ingrain in me, early, an enduring faith in art and artists as preservers of humanity, especially in dark, chaotic times. [Related: Russia from within: Boris Pasternak’s first novel]

My favorite art movie: May I bend the rules? Because I need to pick two: Wong Kar Wai’s In the Mood for Love and Wim Wenders’s Pina. One is fiction, the other documentary. Both are propelled by yearning and by music. Both give us otherworldly depictions of bodies in motion. And both delve into the ways people communicate when words go unspoken.

In the Mood for Love might be the dead-sexiest film I’ve ever seen, and no one takes off their clothes. Instead we get Maggie Cheung and Tony Leung in a ravishing tango of loaded phone calls and intense gazes, skin illicitly brushing skin, figures sliding past each other in close spaces: electricity.

Pina is Wenders’s ode to the German choreographer Pina Bausch, a collaboration that became an elegy after Bausch died when the film was in preproduction. Reviewing the movie for The New York Times in 2017, the critic Gia Kourlas, whom I admire, took issue with one of Wenders’s choices: In between excerpts of Bausch’s works, her dancers sit for “interviews,” but they don’t speak to camera; recordings of their voices play as they look toward the audience or off into the distance. Kourlas wrote that these moments felt “mannered, self-conscious”; they made her “wince.” But to me, a (highly self-conscious) former dancer, Wenders nailed it—I’ve long felt more comfortable expressing myself through dance than through spoken words. These scenes are a brilliantly meta distillation of that tension: Dancers with something powerful to say remain outwardly silent, their insights played as inner narrative. Struck by grief, mouths closed, they articulate how Bausch gave them the gift of language through movement—and thus offered them the gift of themselves. Not for nothing do I have one of Bausch’s mottos tattooed on my forearm: “Dance, dance, otherwise we are lost.”

An actor I would watch in anything: Cate Blanchett. Her ability to inhabit is simply unmatched: She can play woman, man, queen, elf, straight/gay/fluid, hero/antihero/villain. Here I’m sure I’ll scandalize many of our readers by saying out loud that I am not a Bob Dylan person, but I watched Todd Haynes’s I’m Not There precisely because Blanchett was in it—and her roughly 30 minutes as Dylan were all I needed. She elevates everything she appears in, whether it’s deeply serious or silly. I’m particularly captivated by her subtleties, the way she turns a wrist or tilts her head with the grace and precision of a dancer’s épaulement. (Also: She is apparently hilarious.)

An online creator I’m a fan of: Elle Cordova, a musician turned prolific writer of extremely funny, often timely, magnificently nerdy poems, sketches, and songs, performed in a winning low-key deadpan. I was tipped off to her by a friend who sent a link to a video and wrote: “I think I’m falling for this woman.” The vid was part of a series called “Famous authors asking you out”—Cordova parroting Jane Austen, Charles Bukowski, Franz Kafka, Edgar Allan Poe (“Should I come rapping at your chamber door, or do you wanna rap at mine?”), Dr. Seuss, Kurt Vonnegut, Virginia Woolf, James Joyce (“And what if we were to talk a pretty yes in the endbegin of riverflow and moon’s own glimpsing heartclass …”). She does literature. She does science. She parodies pretentious podcasters; sings to an avocado; assumes the characters of fonts, planets, ChatGPT, an election ballot. Her brain is a marvel; no way can AI keep up.

Something delightful introduced to me by a kid in my life: Lego Masters Australia. Technically, we found this one together, but I watch Lego Masters because my 10-year-old is a Lego master himself—he makes truly astonishing creations!—and this is the kind of family entertainment I can get behind: Skilled obsessives, working in pairs, turn the basic building blocks of childhood into spectacular works of architecture and engineering, in hopes of winning glory, prize money, and a big ol’ Lego trophy. They can’t churn out the episodes fast enough for us. The U.S. has a version hosted by Will Arnett, which we also watch, but our family finds him a bit … over-the-top. We much prefer the Australian edition, hosted by the comedian Hamish Blake and judged by “Brickman,” a.k.a. Lego Certified Professional Ryan McNaught, both of whom exude genuine delight and affection for the contestants. McNaught has teared up during critiques of builds, whether gobsmacked by their beauty or moved by the tremendous effort put forth by the builders. It’s a show about teamwork, ingenuity, artistry, hilarity, physics, stamina, and grit—with a side helping of male vulnerability. [Related: Solving a museum’s bug problem with Legos]

A poem that I return to: “Joint Custody,” by Ada Limón. My family is living this. Limón, recalling a childhood of being “taken /  back and forth on Sundays,” of shifting between “two different / kitchen tables, two sets of rules,” reassures me that even though this is sometimes “not easy,” my kids will be okay—more than okay—as long as they know they are “loved each place.” That beautiful wisdom guides my every step with them.

Something I recently rewatched: My mom died when my son was 2 and my daughter didn’t yet exist, and each year around this time—my mom’s birthday—I find little ways to celebrate her by sharing with my kids the things she loved. Chocolate was a big one, I Love Lucy another. So on a recent weekend, we snuggled up and watched Lucille Ball stuffing bonbons down the front of her shirt, and laughed and laughed and laughed. And then we raided a box of truffles.

Here are three Sunday reads from The Atlantic:

How the Ivy League broke America The secret to thinking your way out of anxiety How one woman became the scapegoat for America’s reading crisis

The Week Ahead

Gladiator II, an action film starring Paul Mescal as Lucius, the son of Maximus, who becomes a gladiator and seeks to save Rome from tyrannical leaders (in theaters Friday) Dune: Prophecy, a spin-off prequel series about the establishment of the Bene Gesserit (premieres today on HBO and Max) An Earthquake Is a Shaking of the Surface of the Earth, a novel by Anna Moschovakis about an unnamed protagonist who attempts to find—and eliminate—her housemate, who was lost after a major earthquake (out Tuesday)

Essay

Illustration by Raisa Álava

What the Band Eats

By Reya Hart

I grew up on the road. First on the family bus, traveling from city to city to watch my father, Mickey Hart, play drums with the Grateful Dead and Planet Drum, and then later with the various Grateful Dead offshoots. When I was old enough, I joined the crew, working for Dead & Company, doing whatever I could be trusted to handle … Then, late-night, drinking whiskey from the bottle with the techs, sitting in the emptying parking lot as the semitrucks and their load-out rumble marked the end of our day.

But this summer, for the first time in the band’s history, there would be no buses; there would be no trucks. Instead we stayed in one place, trading the rhythms of a tour for the dull ache of a long, endlessly hot Las Vegas summer.

Read the full article.

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