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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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Nick Cave, one of the most physically expressive figures in rock and roll, was looking at me with suspicion. His eyebrows climbed the considerable expanse of his forehead; his slender frame tensed defensively in his pin-striped suit. I think he thought I was trying to get him canceled.

What I was really trying to do was get him to talk about being a man. For much of his four-decade career fronting Nick Cave and the Bad Seeds, Cave has seemed a bit like a drag king, exaggerating aspects of the male id to amusing and terrifying effect. He performs in funereal formal wear, sings in a growl that evokes Elvis with rabies, and writes acclaimed songs and books brimming with lust, violence, and—in recent years, as he weathered the death of two sons—pained, fatherly gravitas. His venerated stature is more akin to a knighted icon’s than a punk rocker’s; he has been awarded a badge of honor by the Australian government and a fellowship in the United Kingdom’s Royal Society of Literature, and was even invited to King Charles’s coronation, in 2023.

So when I met the 67-year-old Cave at a Manhattan hotel in August, before the release of the Bad Seeds’ 18th studio album, Wild God, I suspected that I might not be alone in wanting to hear his thoughts about the state of masculinity. Meaning: Why are guys, according to various cultural and statistical indicators, becoming lonelier and more politically extreme? I cited some lyrics from his new album that seemed to be about the way men cope with feelings of insecurity and irrelevance, hoping he would elaborate.

Between the long pauses in Cave’s reply, I could hear the crinkling leather of the oversize chair he sat in. “It may be a need that men have—maybe they’re not feeling like they are valued,” he told me, before cutting himself off. “I don’t want to come on like Jordan Peterson or something,” he said, referring to the controversial, right-leaning psychology professor and podcaster who rails against the alleged emasculating effects of modern culture.

Cave seemed taken aback by the idea that he himself was an authority on the subject. “It feels weird to think that I might be tapping into, or somehow the voice of, what it means to be a man in this world,” he told me. “I’ve never really seen that.” In fact, he said, his songs—especially his recent ones—“are very feminine in their nature.”

“I’m criticized for it, actually,” he went on. Fans write to him and say, “ ‘What’s happened to your fucking music? Grow a pair of balls, you bastard!’ ”

When Cave was 12, growing up in a rural Australian village, his father sat him down and asked him what he had done for humanity. The young Cave was mystified by the question, but his father—an English teacher with novelist ambitions—clearly wanted to pass along a drive to seek greatness, preferably through literary means. Other dads read The Hardy Boys to their kids; Cave’s regaled him with Dostoyevsky, Titus Andronicus, and … Lolita.

Those works’ linguistic elegance and thematic savagery lodged deep in Cave, but music became the medium that spoke best to his emerging point of view—that of an outsider, a bad seed, alienated from ordinary society. When he was 13, a schoolmate’s parents accused him of attempted rape after he tried to pull down their daughter’s underwear; at the school he was transferred to, he became notorious for brawling with other boys. His father’s death in a car crash when Cave was 19, and his own heroin habit at the time, didn’t help his outlook. “I was just a nasty little guy,” he told Stephen Colbert recently. His thrashing, spit-flinging band the Birthday Party earned him comparisons to Iggy Pop, but it wasn’t until he formed the Bad Seeds, in the early ’80s, that his bleak artistic vision ripened.

[Read: Nick Cave is still looking for redemption]

Blending blues, industrial rock, and cabaret into thunderous musical narratives, the Bad Seeds’ songs felt like retellings of primal fables, often warning about the mortal dangers posed by intimacy, vulnerability, and pretty girls. On the 1984 track “From Her to Eternity,” piano chords stabbed like emergency sirens as Cave moaned, “This desire to possess her is a wound.” Its final stanza implied that Cave’s narrator had killed the object of his fascination—a typically grisly outcome in Cave’s early songs. His defining classic, 1988’s “The Mercy Seat,” strapped the listener into the position of a man on death row. It plumbed another of Cave’s central themes: annihilating shame, the feeling of being judged monstrous and fearing that judgment to be true.

As Cave aged and became a father—to four sons by three different women—his vantage widened. The Bad Seeds’ 1997 album, The Boatman’s Call, a collection of stark love songs inspired by his breakup with the singer PJ Harvey, brought him new fans by recasting him as a romantic tragedian. More and more, the libidinal bite of his work seemed satirical. He formed a garage-rock band, Grinderman, whose 2007 single “No Pussy Blues” was a send-up of the mindset of those now called incels, construing sexual frustration as cosmic injustice. (Cave spat, “I sent her every type of flower / I played a guitar by the hour / I patted her revolting little Chihuahua / But still she just didn’t want to.”) In his sensationally filthy 2009 novel, The Death of Bunny Munro, he set out to illustrate the radical feminist Valerie Solanas’s appraisal that “the male is completely egocentric, trapped inside himself, incapable of empathizing or identifying with others.” (The actor Matt Smith will soon play the novel’s protagonist, an inveterate pervert, in a TV adaptation.)

But the Cave of today feels far removed from the theatrical grossness of his past, owing to personal horrors. In 2015, his 15-year-old son Arthur fell off a cliff while reportedly on LSD; in 2022, another son, Jethro, died at 31 after struggles with mental health and addiction. “I’ve had, personally, enough violence,” Cave told me. The murder ballads he once wrote were “an indulgence of someone that has yet to experience the ramifications of what violence actually has upon a person—if I’m looking at the death of my children as violent acts, which they are to some degree.”

Nick Cave and his early band the Birthday Party at the Peppermint Lounge in New York, March 26, 1983 (Michael Macioce / Getty)

Music beckoned as a means of healing. The Bad Seeds’ 2019 album, Ghosteen, was a shivery, synth-driven tone poem in which Cave tried to commune with his lost son in the afterlife; by acclamation, it’s his masterpiece. Wild God marks another sonic and temperamental reset. Its music is a luminous fusion of gospel and piano pop: more U2 than the Stooges, more New Testament than Old. Compared with his earlier work, these albums have “a more fluid, more watery sort of feel,” he said. “Which—it’s dangerous territory here—but I guess you could see as a feminine trait.”

On a level deeper than sound, Cave explained, his recent music is “feminine” because of its viewpoint. His lyrics now account not just for his own feelings, but for those of his wife, Susie, the mother of Arthur and his twin brother, Earl. In the first song on Ghosteen, for example, a woman is sitting in a kitchen, listening to music on the radio, which is exactly what Susie was doing when she learned what had happened to Arthur.

“After my son died, I had no understanding of what was going on with me at all,” Cave said. “But I could see Susie. I could see this sort of drama playing out in front of me. Drama—that sounds disparaging, but I don’t mean that. It felt like I was trying to understand what was happening to a mother who had lost her child.” His own subjectivity became “hopelessly and beautifully entangled” with hers. On Ghosteen, “it was very difficult to have a clean understanding of whose voice I actually was in some of these songs.”

That merging of perspectives reflects more than just the shared experience of suffering. It is part of what Cave sees as a transformation of his worldview—from inward-looking to outward-looking, from misanthrope to humanist. Arthur’s death made him realize that he was part of a universal experience of loss, which in turn meant that he was part of the social whole. Whereas he was once motivated to make art to impress and shock the world, he now wanted to help people, to transmute gnawing guilt into something good. “I feel that, as his father, he was my responsibility and I looked away at the wrong time, that I wasn’t sufficiently vigilant,” he said in the 2022 interview collection Faith, Hope and Carnage. He added, speaking of his and Susie’s creative output, “There is not a song or a word or a stitch of thread that is not asking for forgiveness, that is not saying we are just so sorry.”

On the Red Hand Files, the epistolary blog that Cave started in 2018, he replies to questions from the public concerning all manner of subjects: how he feels about religion (he doesn’t identify as Christian, yet he attends church every week), what he thinks of cancel culture (against it, “mercy’s antithesis”), whether he likes raisins (they have a “grim, scrotal horribleness, but like all things in this world—you, me and every other little thing—they have their place”).

At least a quarter of the messages he receives from readers express one idea—“The world is shit,” as he put it. “That has a sort of range: from people that just see everything is corrupt from a political point of view, to people that just see no value in themselves, in human beings, or in the world.” Cave recognizes that outlook from his “nasty little guy” days—but he fears that nihilism has moved from the punk fringe to the mainstream. The misery in his inbox reflects a culture that is “anti-sacred, secular by nature, unmysterious, unnuanced,” he said. He thinks music and faith offer much-needed medicine, helping to re-enchant reality.

[From the October 2024 issue: Leonard Cohen’s prophetic battle against male egoism]

Cave has been heartened to see so many people evidently feeling the same way. Back when Jordan Peterson was first making his mark as a public figure, Cave devoured his lectures about the Bible, he told me. “They were seriously beautiful things. I heard reports about people in his classes; it was like being on acid or something like that. Just listening to this man speak about these sorts of things—it was so deeply complex. And putting the idea of religion back onto the table as a legitimate intellectual concern.”

But over time, he lost interest in Peterson as he watched him get swept up in the internet’s endless, polarized culture wars. Twitter in particular, he said, has “had a terrible, diminishing effect on some great minds.”

The artist’s job, as Cave has come to see it, is to work against this erosion of ambiguity and complication, using their creative powers to push beyond reductive binaries, whether they’re applied to politics, gender, or the soul. “I’m evangelical about the transcendent nature of music itself,” he said. “We can listen to some deeply flawed individuals create the most beautiful things imaginable. The distance from what they are as human beings to what they’re capable of producing can be extraordinary.” Music, he added, can “redeem the individual.”

This redemptive spirit hums throughout Wild God. One song tells of a ghostly boy sitting at the foot of the narrator’s bed, delivering a message: “We’ve all had too much sorrow / Now is the time for joy.” The album joins in that call with its surging, uplifting sound. The final track, “As the Waters Cover the Sea,” is a straightforward hymn, suitable to be sung from the pews of even the most traditional congregations.

But the album is not entirely a departure from Cave’s old work; he has not fully evolved from “living shit-post to Hallmark card,” as he once joked in a Red Hand Files entry. “Frogs” begins with a stark reference to the tale of Cain and Abel—“Ushering in the week, he knelt down / Crushed his brother’s head in with a bone”—and builds to Cave singing, in ecstatic tones, “Kill me!” His point is that “joy is not happiness—it’s not a simple emotion,” he told me. “Joy, in its way, is a form of suffering in itself. It’s rising out of an understanding of the base nature of our lives into an explosion of something beautiful, and then a kind of retreat.”

A few songs portray an old man—or, seemingly interchangeably, an “old god” or a “wild god”—on a hallucinatory journey around the globe, lifting the spirits of the downtrodden wherever he goes. At times, the man comes off like a deluded hero, or even a problematic one: “It was rape and pillage in the retirement village / But in his mind he was a man of great virtue and courage,” Cave sings on the album’s title track. In Cave’s view, though, this figure “is a deeply sympathetic character,” he told me, a person who feels “separated from the world” and is “looking for someone that will see him of some value.”

As with Ghosteen, the album mixes Susie’s perspective with Cave’s. One song, “Conversion,” was inspired by an experience, or maybe a vision, that she had—and that she asked her husband not to publicly disclose in detail. “There is some gentle tension between my wife, who’s an extremely private person, and my own role, which is someone that pretty much speaks about pretty much everything,” Cave said.

In the song, the old god shambles around a town whose inhabitants watch him “with looks on their faces worse than grief itself”—perhaps pity, perhaps judgment. Then he sees a girl with long, dark hair. They embrace—and erupt into a cleansing flame, curing the man of his pain. As Cave described this moment in the song to me, he flared his eyes and made an explosive noise with his mouth. In my mind, I could see the old god, and he looked just like Cave.

This article appears in the December 2024 print edition with the headline “Nick Cave Wants to Be Good.”

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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The exhibit that will change how you see Impressionism SNL isn’t bothering with civility anymore. Abandon the empty nest. Instead, try the open door. Richard Price’s radical, retrograde novel “Dear James”: How can I find more satisfaction in work?

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Why the Gaetz announcement is already destroying the government The sanewashing of RFK Jr. The not-so-woke Generation Z

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People feed seagulls in the Yamuna River, engulfed in smog, in New Delhi, India. (Arun Sankar / AFP / Getty)

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Since the June release of her critically acclaimed album Brat, Charli XCX has been making appearances exuding its titular ethos. Though the concept of “brat” has always been a little indefinable, all you’ve needed to do to understand it has been to look at XCX—her messy, chic black hair; pursed lips; and huge sunglasses all embody the je ne sais quoi of someone who has been out all night partying. So I was curious in the lead-up to her hosting gig on this week’s Saturday Night Live: Would she let her brat mask slip at all?

She did. Although the British pop star started with a fairly stilted, brat-focused monologue—“it’s an attitude; it’s a vibe,” she explained—she proved herself more than game to shed the aesthetic in sketches. Her performances demonstrated a range that those who are largely familiar with her Brat era might not yet know: She can be awkwardly goofy, and she can be a skilled impressionist.

[Read: The legend of Charli XCX grows]

In “Babymoon”—a follow-up to the viral skit “Bridesmaid Speech” during Ariana Grande’s episode earlier this year—XCX fit right in with a chorus of female cast members as they sang a parody of Chappell Roan’s synth-pop song “Hot to Go!” Once again, the overarching gag was that these BFFs had written a jokey song about how their pal Kelsey (Chloe Fineman) had cheated on her spouse with a man named Domingo (Marcello Hernandez)—only now she was pregnant and they were singing at her baby shower. The charm of the recurring sketch lies in its wildly inappropriate reveals, but the true joy of last night’s version was watching XCX take part in the dorky dance moves, her limbs stiffly spelling out the words of the tune.

Later, XCX was an impressive mimic in “Wicked Auditions,” a parade of impressions of celebrities ostensibly doing screen tests for the upcoming Wicked movie. Performing as Adele, XCX nailed the fellow Brit’s specific London accent but also her penchant for cackling at her own jokes. After that, XCX trotted out a take on her friend and tourmate Troye Sivan, imitating his Australian accent and affecting his laid-back posture. In a twist, she appeared with Bowen Yang, who was in costume as XCX herself.

Meanwhile, in “Here I Go,” a musical digital short with Andy Samberg, XCX played a creepily happy, pearl-wearing housewife who, along with her husband, loved to call the cops on fellow white people. XCX cheerily leaned into a Karen archetype, portraying her character’s surveillant tendencies with sinister glee. And for “Banger Boyz,” a sketch featuring a Joe Rogan–inspired podcast, XCX turned up her vocal fry to play the show’s producer—reading absurdist ad copy for fake products like Zyn Junior, a nicotine pouch for kids. She accurately captured the performatively casual tone of these kinds of shows while also differentiating herself from the room of bros; her voice implied that she was along for the ride, but her eyes suggested that she knew they were ridiculous.

XCX’s versatility shouldn’t really come as a surprise. As she mentioned in her monologue, she started performing when she was a teenager and has been pursuing her career ever since, navigating the challenges of the music industry and the boxes it tried (sometimes unsuccessfully) to slot her into. One of her first early hits was “Boom Clap” off The Fault in Our Stars soundtrack, which now seems un-brat with its teeny-bopper version of romance.

Brat exploded in part because it felt like the fullest expression of XCX’s ethos: a workhorse approach to songwriting alongside her 365-party-girl attitude toward life. Her SNL episode suggested that she’s ready to apply that industriousness to her next act—in the film world. She’s lined up for a number of movies, including I Want Your Sex, the latest from the queer provocateur Gregg Araki, and Sacrifice, from the French director Romain Gavras, which co-stars Chris Evans and Anya Taylor-Joy.

But of course, when XCX took the mic for the musical performances of her songs “360” and “Sympathy Is a Knife,” she once again put on her sunglasses. Stomping around the stage, she had the untouchable vibes of someone who truly embodies the cooler-than-thou energy that she’s created.

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