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Are You the Only One Who’s Broke? Or Is It ‘Money Dysmorphia’?

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Are You the Only One Who’s Broke? Or Is It ‘Money Dysmorphia’?

On Instagram feeds, martini glasses clink in what feels like a never-ending loop. Photo carousels from nights out show low-lit steakhouses, tartare and soufflés, Luxardo cherries. (What, in this economy, is screaming Luxardo cherries?) A roommate’s random co-worker is somehow lounging on yet another cabana in yet another tropical bathing suit. (Who owns that many bathing suits?) A co-worker’s random roommate is inexplicably trying out a new Bitcoin-powered bathhouse.

Just one click away is the news: flip-flopping on tariffs that could hit iPhones, T-shirts, backpacks and toothbrushes. There are wildly zigzagging red lines on market charts and somber television newscasters with panicked voices talking about retirement savings, which is angst-inducing even for people decades away from retirement.

“Phone-eats-first type of food, whatever viral sweater is going around on TikTok, the new work bag,” said Devin Walsh, 25, who lives in New York and works in marketing, listing the tempting purchases that flit across her Instagram, even, stubbornly, this past week. “Meanwhile, everyone is referencing the Great Depression.”

It’s a dizzying time to be a 20-something inundated by social media feeds flashing other people’s trips and restaurant reservations, which feel more over-the-top than ever, thanks to what trend forecasters call the “boom boom aesthetic.” It’s a recent embrace, by fashion labels, influencers and ordinary spenders, of lavish old-money consumption, like Gordon Gekko-inspired suits and endless (once verboten) furs.

Many young people are plagued by pangs of economic self-doubt, telling friends or therapists that they can’t keep up with the Joneses (and what the Joneses are posting on Instagram). Others are struggling to save, and then making impulse buys that leave them feeling anxious or guilty, that spending hangover from an “oh why not” pair of shoes.

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“You see a social media post and you’re like, ‘Maybe I’m doing something wrong,’” said Veronica Holloway, 27, a data analyst who lives in Chicago. “Like somehow I must be being irresponsible if I’m not able to spend like this.”

The resulting unease is leading to what financial planners call “money dysmorphia.” A sibling of the term “body dysmorphia,” meaning people who look in the mirror and do not see what’s really there, it refers to people who have a distorted view of their own financial well-being. It’s a mind-bending split-screen view of reality.

“You’re in a position where you don’t believe you have enough money, even though the numbers say you’re OK,” said Aja Evans, a financial therapist with some clients who struggle with dysmorphia. “It’s easy for people to create a narrative around what they’re seeing online — they’re like, ‘Oh my God, everyone is going away for spring break, I’m the only one who is staying home.’”

These perceptions, unhinged from reality, lead some to hold back on spending unnecessarily. It could lead others to overspend, sometimes enabled by “buy now, pay later” technologies; the average Gen Z consumer holds roughly $3,500 in credit card debt, according to data from Experian. A 2024 study conducted by Qualtrics found that nearly a third of all Americans reported feeling money dysmorphia, including 43 percent of Gen Z.

For Ms. Holloway, this disquieting uncertainty about spending started in childhood, after both her parents lost their jobs in the 2008 financial crisis. Her family lived below the poverty line, she said. Ms. Holloway thought twice about even necessary expenses. When she bought a pair of $130 sneakers for her high school cross country team, she spent a week feeling sick to her stomach.

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She has never been able to fully shake her worries, even now that she has a paycheck that more than covers her rent and meals. It does not help that her social media acts as a highlight reel of friends’ expenses, from flashy dinners to acrylic nails.

What’s known as the hemline theory says that when the economy becomes stronger, skirts lengths become shorter; boom times mean people want to party. A corollary that some economists and sociologists have found is that when the economy turns downward, tastes for little luxuries sometimes grow. During the 2008 financial crisis, some scholars reported seeing the “Lipstick Effect,” which was consumers spending more on small cosmetic items, perhaps as a way to feel slightly better about the state of the world, or at least about their faces. And in the early 1980s, when the economy cratered, fashion turned gaudy and over-the-top. One popular poster from the time shows a man in a tweed jacket and English riding pants leaning against a Rolls-Royce, cocktail glass in the air.

“That display of preppy-style wealth came during the worst economic recession since the 1930s,” said Douglas Rossinow, a historian and the author of “The Reagan Era.”

That tendency toward crisis-inflected lipstick spending has been layered on top of a financial reality that is already confusing for young people. For years, millennials were living with a warped sense of financial security because of venture capital money essentially subsidizing DoorDash deliveries and Uber rides. Social media invites people to post only their most hard-to-get dinner reservations and “White Lotus”-reminiscent beach travel. Now the economic picture is particularly uncertain, and the Instagram aesthetic is particularly luxurious.

“There was this more subdued, minimal norm-core look of the 2010s where people were trying to occlude their power or wealth — which came out of Silicon Valley and its casual approach to the workplace — that has fallen out of favor,” said the trend forecaster Sean Monahan.

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Mr. Monahan, who coined the term “boom boom aesthetic” in December, has tracked a recent surge in posts of flashy finery: caviar bumps, broad-shouldered suits, Chateau Marmont parties, 1980s-style decadence. “People feel like they’re participating in status games very explicitly,” he said. “The social hierarchy is in flux.”

Dessie DiMino, a tech worker, notices when friends post pictures from ski resorts and music festivals. She has had to ratchet up the voice in her head reminding herself to save as she follows headlines about economic uncertainty and the tariffs that seemed poised to hit her daily spending, including grocery items like coffee beans and chocolate.

“I don’t want to just stop doing everything, but I know there are days I should really bite the bullet and stay home,” said Ms. DiMino, 27.

To Ms. Walsh, the marketing employee from New York, the draw toward prudence feels especially tricky for her generation because of the shared sense that they’re living under a cloud of incessant crisis — Covid-19, climate change, political turbulence. Sometimes, she tells her mother, it’s hard to muster the discipline to save when she keeps hearing that the sky is falling.

“We’re more inclined to spend frivolously because of this looming main character energy of ‘The world is going to end anyway,’” Ms. Walsh said. “What are we saving for?”

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In February, she splurged on hosting a Valentine’s Day party in her Hell’s Kitchen apartment, spending hundreds of dollars on heart-shaped sunglasses that she mounted to the wall to feel like a Sunglass Hut, a sink filled with alcohol and a new $150 heart-printed dress. “Was it a rational use of funds?” she said. “Maybe not.”

Financial planners, especially those who work with young people, are trying to help clients who are feeling throttled by these economic shifts. Some of these clients are buying up new blazers and vacations as a balm for their broader sense of anxiety about where the economy is headed. Others are avoiding even reasonable purchases.

“I work with somebody who started cheaping out on groceries, even though her family’s financial future doesn’t hang on a trip to Whole Foods,” said Matt Lundquist, a therapist in Manhattan. “The inverse end of that is people being much more pleasure seeking — getting the Chanel bag, the ‘Oh forget it, I’ve been wanting these shoes.’”

Kara Pérez, who founded an organization that educates women on managing finances, has seen this uncertainty reshape her clients’ views on class. Some are overwhelmed by the affluence they see on social media, and it makes them lose sense of whether or not they are financially comfortable. Ms. Pérez said some clients whom she would describe as firmly middle class no longer saw themselves that way.

“A lot of people are like, ‘I’m not Kim Kardashian, I’m not Elon Musk, therefore I am broke,’” Ms. Pérez said.

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Ms. Pérez also sees this sentiment in comments that users leave on her social media page. On TikTok, where Ms. Pérez calls herself a personal finance expert, she’s forgiving of those who reply to her posts amid the chaos of the moment, effectively saying: “There’s no point in saving babe, we’re not going to retire. It’s OK to spend extravagantly now.”

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Terry Tempest Williams on why women with big ideas get labeled ‘crazy’ : Wild Card with Rachel Martin

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Terry Tempest Williams on why women with big ideas get labeled ‘crazy’  : Wild Card with Rachel Martin

A note from Wild Card host Rachel Martin: I met Terry Tempest Williams about 25 years ago at a writer’s conference in Yosemite Valley. I was a young reporter who was there to do a story about how literature was addressing climate change and she made such a huge impression on me. I had never heard someone talk about the natural world the way Terry did and she had a spiritual depth I hadn’t encountered in my life at that point.

To this day, Terry’s writing always reorients me towards what is good, what is beautiful, and what is true. Her newest book is called “The Glorians.”

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Meow Wolf taps famed L.A. animation house for its new Los Angeles venue

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Meow Wolf taps famed L.A. animation house for its new Los Angeles venue

For its upcoming Los Angeles venue, experiential art firm Meow Wolf will focus on the art of storytelling, with a specific eye toward skewering our city’s moviemaking magic. To help bring that vision to life, Meow Wolf has entered into a creative partnership with Titmouse, one of L.A.’s most renowned independent animation houses.

The Hollywood-based studio behind popular series such as “Big Mouth” and “Star Trek: Lower Decks” will create animation that will be shown throughout the West L.A. venue, which is on target for a late 2026 opening at the Howard Hughes entertainment complex.

It’s a move that represents a shift for Santa Fe, N.M.-based Meow Wolf. Over the last decade-plus, the art collective has grown beyond its anything-goes, punk-meets-psychedelic roots into an organization with full-scale, maximalist installations in its hometown, Denver, Las Vegas, Houston and the Dallas suburbs. In the past, Meow Wolf kept most of its media in-house.

As part of its larger-than-life participatory art installations, Meow Wolf L.A. will feature a mix of live action and animation, the former filmed by Meow Wolf in its Santa Fe studio. Meow Wolf’s James Stephenson, a senior VP with the company and its creative director of emerging media, said the degree to which the L.A. exhibition will lean into various animation styles necessitated an outside partner. Titmouse’s work, in development by a number of directors with contrasting tones, will be shown on a variety of formats, ranging from cinema screens to full-room projections.

“I really believe in animation as an art form, and I know the Titmouse folks do too,” Stephenson says. “Animation is made by artists. It’s made by artists with their own hands. It’s something that is still very rooted in craft.”

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Meow Wolf’s L.A. space is set in a former cinema complex, and will champion its location, taking guests on a journey through a converted movie house and beyond, into a sci-fi-inspired fantasyland with sentient spaceships and a 30-foot-tall mushroom tower. Meow Wolf creatives have spoken of the fantastical movie theater as one that will feature animated, self-aware candy before attendees enter the main exhibition space, making Titmouse’s work some of the first art guests will encounter. Titmouse co-founder Chris Prynoski has said the studio has lined up at least six directors for the exhibit.

An in-progress art installation destined for Meow Wolf L.A. at the art collective’s Santa Fe, N.M., headquarters. The L.A. exhibition will feature animation from Titmouse.

(Gabriela Campos / For The Times)

Titmouse, says Stephenson, is the right partner because “they’re known less for a house style, and more for a house vibe.” Over the years, Titmouse has been behind such diverse shows as “Scavengers Reign,” owning a Jean Giraud influence rooted in French and Spanish surrealism, the lively “Jentry Chau vs. the Underworld,” with an unique color palette that took inspiration from anime and Chinese mythology, the exaggerated comic book feel of Adult Swim’s “Metalocalypse,” and the approachable yet expressive tone of “Star Trek: Lower Decks.”

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“Meow Wolf’s vibe is similar to Titmouse’s vibe,” Stephenson says. “It’s artist-first, artist-driven, independent and kinda edgy. They are always trying to find the edge of what’s possible. They try to see how far they can go, and it’s done for fun and in the spirit of taking risks.”

Prynoski says working with Meow Wolf will give Titmouse a sense of artistic freedom it doesn’t always have when delivering content for more traditional Hollywood partners. He says the multi-director approach is a callback to the early days of Warner Bros. Animation, when individual creators put their own stamp on Looney Tunes material.

“I use Bugs Bunny as an example,” Prynoski says. “You’ve got a Friz Freleng Bugs Bunny short. You’ve got a Chuck Jones Bugs Bunny short. You’ve got a Tex Avery Bugs Bunny short. They’re all different versions of Bugs Bunny, and people who are really paying attention can tell which director directed each one. Even though to the layman, these are all Bugs Bunny, but if you lined them up, they are drawing in different styles, sensibilities and techniques.”

Prynoski says that was a centerpiece of his pitch to Meow Wolf, noting that characters will reappear in multiple installations, each handled by a different artist. Meow Wolf L.A., in fact, will be the firm’s most character-driven exhibition, as guests will follow the storylines of three main protagonists throughout the space.

In announcing the partnership, Meow Wolf and Titmouse released an image from an animated work directed by Luca Vitale. It features a key character having a moment with a hummingbird and it’s done in an elegant, slightly anime-influenced style. It’s an image full of movement, reflecting a character in transition with inviting pastels and bold dashes.

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“I like that image because I think it captures some of the sense of wonder that we want people to feel,” Stephenson says. “The character is having an encounter with the elusive nature of creativity and reality in a way that makes them have a different perspective of what’s possible.”

Other contributing animation directors to Meow Wolf L.A. include Space Dawg, Felix Colgrave, Alexander Vanderplank and Phimémon Martin, and Jun Ioneda.

Titmouse’s partnership with Meow Wolf will extend beyond the L.A. exhibition. The two will be working on the development of Meow Wolf New York, which is slated to open some time after Los Angeles, and are collaborating on a planned animated series, which Prynoski is spearheading.

Meow Wolf exhibits are the result of sometimes hundreds of disparate artists coming together in a shared space. Distilling that into a signature, singular style for a series could be a challenge. Stephenson pinpoints some guiding principles.

“You really need to feel the hand of the artist,” he says. “You need to feel a DIY aesthetic. You need to feel the materiality. Those are very specific to what we are.”

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Appeals court denies Trump’s request to halt removal of his name from the Kennedy Center

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Appeals court denies Trump’s request to halt removal of his name from the Kennedy Center

The Kennedy Center on June 28, with its facade signage still covered by a tarp and scaffolding.

Alex Wroblewski/AFP via Getty Images


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Alex Wroblewski/AFP via Getty Images

On Wednesday, a federal appeals court denied President Trump’s request to stop the removal of his name from Washington, D.C.’s Kennedy Center. The signage on the building has been covered with tarp and scaffolding since June 13, but in a court filing last month, the center’s current executive director said that Trump’s name has been removed.

In their decision, three judges from the U.S. District Court of Appeals for the District of Columbia Circuit said that the president had failed to prove that the arts center would be “irreparably injured” without Trump’s name attached to it.

NPR requested comment from the Kennedy Center, but did not receive an immediate reply.

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This latest round of court decisions is part of the ongoing litigation filed by Rep. Joyce Beatty, D-Ohio, against President Trump and the board of the Kennedy Center. In a statement emailed Wednesday to NPR, Beatty said: “Today’s ruling again affirms that this administration’s efforts to rename the Kennedy Center were unlawful. His name no longer desecrates this sacred memorial, which belongs to the American people. Now it is time for the Trump administration to accept this, comply with the law, and take the tarps down.”

In previous court filings, Trump’s legal team had asserted that removing the president’s name from the arts complex, both on the physical building and in its digital materials, would inflict irreparable harm in both time and money already spent. In the denial, the three judges — Patricia Millett, Robert Wilkins and Gregory Katsas — wrote that since Trump’s name has already been removed, “a stay would not avert those harms.”

Furthermore, Trump had claimed that without his name attached, future fundraising would be threatened “and [will] contribute to the financial decline of the Center.” In response, the appeals judges wrote: “Appellants, however, have failed to support this assertion with any specific facts or evidence. They offer only the conclusory assertions of the Kennedy Center’s Executive Director that were made in a factually unsupported declaration.” The center’s current executive director, Matt Floca, specializes in physical plant management.

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