Lifestyle
Here are the winners of the 2024 Pulitzer Prizes
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The Pulitzer Prizes were awarded today at Columbia University, honoring American achievements in journalism, letters and drama, and music. Widely recognized as the most prestigious awards in their field within the United States, the 108th Pulitzer Prizes took place against an unusually fraught backdrop. In a statement last week, the Pulitzer Board commended student journalists covering campus protests against the war in Gaza, acknowledging they were often placing themselves “in the face of great personal and academic risk.”
Twenty-three prizes were awarded last year, with cash prizes of $15,000 going to the recipients of most of the prizes and a gold medal to the news organization that wins the Public Service Prize.
The New York Times won one of its three Pulitzers this year for its coverage of the war in Gaza. The award for International Reporting went to its staff for “wide-ranging and revelatory coverage of Hamas’ lethal attack in southern Israel on October 7, Israel’s intelligence failures and the Israeli military’s sweeping, deadly response in Gaza.” The Times also took Pulitzers in the Features and Investigative categories, the latter for a series by Hannah Dreier that revealed “the stunning reach of migrant child labor across the United States – and the corporate and governmental failures that perpetuate it.”
The Washington Post tied with the Times with three wins in the categories of Commentary, Editorial Writing and National Reporting. It shared the last with the staff at Reuters, which also won a Pulitzer for Breaking News Photography, for “raw and urgent photographs documenting the October 7th deadly attack in Israel by Hamas and the first weeks of Israel’s devastating assault on Gaza.”
And film critic Justin Chang of the Los Angeles Times won a Criticism Pulitzer for “richly evocative and genre-spanning” work “that reflects on the contemporary moviegoing experience.” Chang also contributes to numerous other publications, including NPR.
In arts and letters, the Biography award was given to two authors. The judges called Jonathan Eig’s King: A Life, a revelatory portrait of slain civil rights leader Martin Luther King, Jr. Ilyon Woo also won a Biography Pulitzer for Master Slave Husband Wife: An Epic Journey from Slavery to Freedom.
The Fiction Pulitzer went to West Virginia writer Jayne Anne Phillips for her novel Night Watch. It’s about a traumatized family in the aftermath of the Civil War. And the Nonfiction prize went to A Day in the Life of Abed Salama: Anatomy of a Jerusalem Tragedy, by Nathan Thrall. The treatment of a grieving Palestinian father was described by the judges as a “finely reported and intimate account of life under Israeli occupation of the West Bank.”
Here are the 2024 winners:
Prizes in Journalism
Public Service
“Awarded to ProPublica for the work of Joshua Kaplan, Justin Elliott, Brett Murphy, Alex Mierjeski and Kirsten Berg, groundbreaking and ambitious reporting that pierced the thick wall of secrecy surrounding the Supreme Court to reveal how a small group of politically influential billionaires wooed justices with lavish gifts and travel, pushing the Court to adopt its first code of conduct.”
Breaking News Reporting
“Awarded to the Staff of Lookout Santa Cruz, California, for its detailed and nimble community-focused coverage, over a holiday weekend, of catastrophic flooding and mudslides that displaced thousands of residents and destroyed more than 1,000 homes and businesses.”
Investigative Reporting
“Awarded to Hannah Dreier of The New York Times for a deeply reported series of stories revealing the stunning reach of migrant child labor across the United States – and the corporate and governmental failures that perpetuate it.”
Explanatory Reporting
“Awarded to Sarah Stillman of The New Yorker for a searing indictment of our legal system’s reliance on the felony murder charge and its disparate consequences, often devastating for communities of color.”
Local Reporting
“Awarded to Sarah Conway of City Bureau and Trina Reynolds-Tyler of the Invisible Institute for their investigative series on missing Black girls and women in Chicago that revealed how systemic racism and police department neglect contributed to the crisis.”
National Reporting
“Awarded to the Staff of Reuters for an eye-opening series of accountability stories focused on Elon Musk’s automobile and aerospace businesses, stories that displayed remarkable breadth and depth and provoked official probes of his companies’ practices in Europe and the United States.”
“Awarded to the Staff of The Washington Post for its sobering examination of the AR-15 semiautomatic rifle, which forced readers to reckon with the horrors wrought by the weapon often used for mass shootings in America. (Moved by the Board from the Public Service category, where it also was entered and nominated.)”
International Reporting
“Awarded to the Staff of The New York Times for its wide-ranging and revelatory coverage of Hamas’ lethal attack in southern Israel on October 7, Israel’s intelligence failures and the Israeli military’s sweeping, deadly response in Gaza.”
Feature Writing
“Awarded to Katie Engelhart, contributing writer, The New York Times for her fair-minded portrait of a family’s legal and emotional struggles during a matriarch’s progressive dementia that sensitively probes the mystery of a person’s essential self.”
Vladimir Kara-Murza in Moscow on Feb. 22, 2024.
Alexander Nemenov/AFP via Getty Images
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Alexander Nemenov/AFP via Getty Images
Vladimir Kara-Murza in Moscow on Feb. 22, 2024.
Alexander Nemenov/AFP via Getty Images
Commentary
“Awarded to Vladimir Kara-Murza, contributor, The Washington Post for passionate columns written at great personal risk from his prison cell, warning of the consequences of dissent in Vladimir Putin’s Russia and insisting on a democratic future for his country.”
Criticism
“Awarded to Justin Chang of the Los Angeles Times for richly evocative and genre-spanning film criticism that reflects on the contemporary moviegoing experience.”
Editorial Writing
“Awarded to David E. Hoffman of The Washington Post for a compelling and well-researched series on new technologies and the tactics authoritarian regimes use to repress dissent in the digital age, and how they can be fought.”
Illustrated Reporting and Commentary
“Awarded to Medar de la Cruz, contributor, The New Yorker for his visually-driven story set inside Rikers Island jail using bold black-and-white images that humanize the prisoners and staff through their hunger for books.”
Breaking News Photography
“Awarded to the Photography Staff of Reuters for raw and urgent photographs documenting the October 7th deadly attack in Israel by Hamas and the first weeks of Israel’s devastating assault on Gaza.”
Haitian migrants wade through water as they cross the Darien Gap from Colombia to Panama on May 9, 2023.
Ivan Valencia/AP
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Ivan Valencia/AP
Haitian migrants wade through water as they cross the Darien Gap from Colombia to Panama on May 9, 2023.
Ivan Valencia/AP
Feature Photography
“Awarded to the Photography Staff of Associated Press for poignant photographs chronicling unprecedented masses of migrants and their arduous journey north from Colombia to the border of the United States.”
Audio Reporting
“Awarded to the Staffs of the Invisible Institute, Chicago, and USG Audio, California, for a powerful series that revisits a Chicago hate crime from the 1990s, a fluid amalgam of memoir, community history and journalism.”
Letters and Drama Prizes
Fiction
“Awarded to Night Watch, by Jayne Anne Phillips (Knopf), a beautifully rendered novel set in West Virginia’s Trans-Allegheny Lunatic Asylum in the aftermath of the Civil War where a severely wounded Union veteran, a 12-year-old girl and her mother, long abused by a Confederate soldier, struggle to heal.”
Drama
“Awarded to Primary Trust, by Eboni Booth, a simple and elegantly crafted story of an emotionally damaged man who finds a new job, new friends and a new sense of worth, illustrating how small acts of kindness can change a person’s life and enrich an entire community.”
History
“Awarded to No Right to an Honest Living: The Struggles of Boston’s Black Workers in the Civil War Era, by Jacqueline Jones (Basic Books), a breathtakingly original reconstruction of free Black life in Boston that profoundly reshapes our understanding of the city’s abolitionist legacy and the challenging reality for its Black residents.”
Biography
“Awarded to King: A Life, by Jonathan Eig (Farrar, Straus and Giroux), a revelatory portrait of Martin Luther King, Jr. that draws on new sources to enrich our understanding of each stage of the civil rights leader’s life, exploring his strengths and weaknesses, including the self-questioning and depression that accompanied his determination.”
“Awarded to Master Slave Husband Wife: An Epic Journey from Slavery to Freedom, by Ilyon Woo (Simon & Schuster), a rich narrative of the Crafts, an enslaved couple who escaped from Georgia in 1848, with light-skinned Ellen disguised as a disabled white gentleman and William as her manservant, exploiting assumptions about race, class and disability to hide in public on their journey to the North, where they became famous abolitionists while evading bounty hunters.”
Memoir or Autobiography
“Awarded to Liliana’s Invincible Summer: A Sister’s Search for Justice, by Cristina Rivera Garza (Hogarth), a genre-bending account of the author’s 20-year-old sister, murdered by a former boyfriend, that mixes memoir, feminist investigative journalism and poetic biography stitched together with a determination born of loss.”
Poetry
“Awarded to Tripas: Poems, by Brandon Som (Georgia Review Books), a collection that deeply engages with the complexities of the poet’s dual Mexican and Chinese heritage, highlighting the dignity of his family’s working lives, creating community rather than conflict.”
General Nonfiction
“Awarded to A Day in the Life of Abed Salama: Anatomy of a Jerusalem Tragedy, by Nathan Thrall (Metropolitan Books), a finely reported and intimate account of life under Israeli occupation of the West Bank, told through a portrait of a Palestinian father whose five-year-old son dies in a fiery school bus crash when Israeli and Palestinian rescue teams are delayed by security regulations.”
Prize in Music
“Awarded to ‘Adagio (For Wadada Leo Smith)’ by Tyshawn Sorey, premiered on March 16, 2023 at Atlanta Symphony Hall, an introspective saxophone concerto with a wide range of textures presented in a slow tempo, a beautiful homage that’s quietly intense, treasuring intimacy rather than spectacle.”
Special Citations
“The Pulitzer Board awards a special citation for the late writer and critic Greg Tate, whose language – cribbed from literature, academia, popular culture and hip-hop – was as influential as the content of his ideas. His aesthetic, innovations and intellectual originality, particularly in his pioneering hip-hop criticism, continue to influence subsequent generations, especially writers and critics of color.
In recent years the Pulitzer Board has issued citations honoring journalists covering wars in Ukraine and Afghanistan. This year, the Board recognizes the courageous work of journalists and media workers covering the war in Gaza. Under horrific conditions, an extraordinary number of journalists have died in the effort to tell the stories of Palestinians and others in Gaza. This war has also claimed the lives of poets and writers among the casualties. As the Pulitzer Prizes honor categories of journalism, arts, and letters, we mark the loss of invaluable records of the human experience.”
The art industry is increasingly shaped by artists’ and art businesses’ shared realization that they are locked in a fierce struggle for sustained attention — against each other, and against the rest of the overstimulated, always-online world. A major New York art fair aims to win this competition next month by knocking down the increasingly shaky walls between contemporary art and fashion.
When visitors enter the Independent art fair on May 14, they will almost immediately encounter its open-plan centerpiece: an installation of recent couture looks from Comme des Garçons. It will be the first New York solo presentation of works by Rei Kawakubo, the brand’s founder and mastermind, since a lauded 2017 survey exhibition at the Metropolitan Museum of Art’s Costume Institute.
Art fairs have often been front and center in the industry’s 21st-century quest to capture mindshare. But too many displays have pierced the zeitgeist with six-figure spectacles, like Maurizio Cattelan’s duct-taped banana and Beeple’s robot dogs. Curating Independent around Comme des Garçons comes from the conviction that a different kind of iconoclasm can rise to the top of New York’s spring art scrum.
Elizabeth Dee, the founder and creative director of Independent, said that making Kawakubo’s work the “nerve center” of this year’s edition was a “statement of purpose” for the fair’s evolution. After several years at the compact Spring Studios in TriBeCa, Independent will more than double its square footage by moving to Pier 36 at South Street, on the East River. Dee has narrowed the fair’s exhibitor list, to 76, from 83 dealers in 2025, and reduced booth fees to encourage a focus on single artists making bold propositions.
“Rei’s work has been pivotal to thinking about how my work as a curator, gallerist and art fair can push boundaries, especially during this extraordinary move toward corporatization and monoculture in the art world in the last 20 years,” Dee said.
Kawakubo’s designs have been challenging norms since her brand’s first Paris runway show in 1981, but her work over the last 13 years on what she calls “objects for the body” has blurred borders between high fashion and wearable sculpture.
The Comme des Garçons presentation at Independent will feature 20 looks from autumn-winter 2020 to spring-summer 2025. Forgoing the runway, Kawakubo is installing her non-clothing inside structures made from rebar and colored plastic joinery.
Adrian Joffe, the president of both Comme des Garçons International and the curated retailer Dover Street Market International (and who is also Kawakubo’s husband), said in an interview that Kawakubo’s intention was to create a sculptural installation divorced from chronology and fashion — “a thing made new again.”
Every look at Independent was made in an edition of three or fewer, but only one of each will be for sale on-site. Prices will be about $9,000 to $30,000. Comme des Garçons will retain 100 percent of the sales.
Asked why she was interested in exhibiting at Independent, the famously elusive Kawakubo said via email, “The body of work has never been shown together, and this is the first presentation in New York in almost 10 years.” Joffe added a broader philosophical motivation. “We’ve never done it before; it was new,” he said. Also essential was the fair’s willingness to embrace Kawakubo’s vision for the installation rather than a standard fair booth.
Kawakubo began consistently engaging with fine art decades before such crossovers became commonplace. Since 1989, she has invited a steady stream of contemporary artists to create installations in Comme des Garçons’s Tokyo flagship store. The ’90s brought collaborations with the artist Cindy Sherman and performance pioneer Merce Cunningham, among others.
More cross-disciplinary projects followed, including limited-release direct mailers for Comme des Garçons. Kawakubo designs each from documentation of works provided by an artist or art collective.
The display at Independent reopens the debate about Kawakubo’s proper place on the continuum between artist and designer. But the issue is already settled for celebrated artists who have collaborated with her.
“I totally think of Rei as an artist in the truest sense,” Sherman said by email. “Her work questions what everyone else takes for granted as being flattering to a body, questions what female bodies are expected to look like and who they’re catering to.”
Ai Weiwei, the subject of a 2010 Comme des Garçons direct mailer, agreed that Kawakubo “is, in essence, an artist.” Unlike designers who “pursue a sense of form,” he added, “her design and creation are oriented toward attitude” — specifically, an attitude of “rebellion.”
Also taking this position is “Costume Art,” the spring exhibition at the Costume Institute. Opening May 10, the show pairs individual works from multiple designers — including Comme des Garçons — with artworks from the Met’s holdings to advance the argument made by the dress code for this year’s Met gala: “Fashion is art.”
True to form, Kawakubo sometimes opts for a third way.
“Rei has often said she’s not a designer, she’s not an artist,” Joffe said. “She is a storyteller.”
Now to find out whether an art fair sparks the drama, dialogue and attention its authors want.
Lifestyle
They set out to elevate karaoke in L.A. — and opened a glamorous lounge that pulls out all the stops
Brothers Leo and Oliver Kremer visited karaoke spots around the globe and almost always had the same impression.
“The drinks weren’t always great, the aesthetics weren’t always so glamorous, the sound wasn’t always awesome and the lights were often generic,” says Leo, a former bassist of the band Third Eye Blind.
As devout karaoke fans, they wanted to level up the experience. So they dreamed up Mic Drop, an upscale karaoke lounge in West Hollywood that opens Thursday. It’s located inside the original Larrabee Studios, a historic 1920s building formerly owned by Carole King and her ex-husband, Gerry Goffin — and the spot where King recorded some of her biggest hits. Third Eye Blind band members Stephan Jenkins and Brad Hargreaves are investors of the new venue.
Inside the two-story, 6,300-square-foot venue with 13 private karaoke rooms and an electrifying main stage, you can feel like a rock star in front of a cheering audience. Want to check it out? Here are six things to know.
The Kremer brothers hired sculptor Shawn HibmaCronan to create an 8-foot-tall disco-themed microphone for their karaoke lounge.
1. Take your pick between a private karaoke experience or the main stage
A unique element of Mic Drop is that it offers both private karaoke rooms and a main stage experience for those who wish to sing in front of a crowd. The 13 private rooms range from six- to 45-person capacity. Each of the karaoke rooms are named after a famous recording studio such as Electric Lady, Abbey Road, Shangri La and of course, Larrabee Studios. There is a two-hour minimum on all rentals and hourly rates depend on the room size and day of the week.
But if you’re ready to take the center stage, it’s free to sing — at least technically. All you have to do is pay a $10 fee at the door, which is essentially a token that goes toward your first drink. Then you can put your name on the list with the KJ (karaoke jockey) who keeps the crowd energized throughout the night and even hits the stage at times.
Harrison Baum, left, of Santa Monica, and Amanda Stagner, 27, of Los Angeles, sing in one of the 13 private karaoke rooms.
2. Thumping, high sound quality was a top priority
As someone who toured the world playing bass for Third Eye Blind, top-tier sound was a nonnegotiable for Leo. “Typically with karaoke, the sound is kind of teeny, there’s not a lot of bass and the vocal is super hot and sitting on top too much,” he says. To combat this, he and his brother teamed up with Pineapple Audio, an audio visual company based in Chicago, to design their crisp sound system. They also installed concert-grade speakers and custom subwoofers from a European audio equipment manufacturer called Celto, and bought gold-plated Sennheiser wireless microphones, which they loved so much that they had an 8-foot-tall replica made for their main room. Designed by artist Shawn HibmaCronan, the “macrophone,” as they call it, has roughly 30,000 mirror tiles. “It spins and throws incredible disco light everywhere,” says Leo.
Karaoke jockeys Sophie St. John, 27, second from left, and Cameron Armstrong, 30, right, get the crowd involved with their song picks at Mic Drop.
3. A concert-level performance isn’t complete without good stage lighting and a haze machine
Each karaoke room features a disco ball and dynamic lighting that syncs up with whatever song you’re singing, which makes you feel like you are a professional performer. There’s also a haze machine hidden under the leather seats. Meanwhile, the main stage is concert-ready with additional dancing lasers and spotlights.
Brett Adams, left, of Sherman Oaks, and Patrick Riley of Studio City sing karaoke together inside a private lounge at Mic Drop.
4. The song selection is vast, offering classics and new hits
One of the worst things that can happen when you go to karaoke is not being able to find the song you want to sing. At Mic Drop, the odds of this happening are slim to none. The venue uses a popular karaoke service called KaraFun, which has a catalog of more than 600,000 songs (and adds 400 new tracks every month), according to its website. Take your pick from country, R&B, jazz, rap, pop, love duets and more. (Two newish selections I spotted were Raye’s “Where Is my Husband” and Olivia Dean’s “Man I Need,” which both released late last year.) In the private karaoke rooms, there’s also a fun feature on Karafun called “battle mode,” which allows you and your crew of up to 20 people to compete in real time. KaraFun also has an entertaining music trivia game, which I tested out with the founders and came in second place.
The design inspiration for Mic Drop was 1920s music lounges and 1970s disco culture, says designer Amy Morris.
5. The interiors are inspired by 1920s music lounges mixed with ‘70s disco vibes
A disco ball hangs from the ceiling.
If you took the sophisticated aesthetic of 1920s music lounges and mixed it with the vibrant and playful era of 1970s disco culture, you’d find Mic Drop.
When you walk into the lounge, the first thing you’ll see is a bright red check-in desk that resembles a performer’s dressing room with vanity lights, several mirrors and a range of wigs. “So much of karaoke is about getting into character and letting go of the day, so we had the idea to sell the wigs,” says Oliver. As you continue into the lounge, the focal point is the stage, which is adorned with zebra-printed carpet and dramatic, red velvet curtains. For seating, slide into the red velvet banquettes or plop onto a gold tiger velvet stool. Upstairs, you’ll find the intimate karaoke studios, which are decorated with red velvet walls and brass, curved doorways that echo the building’s deco arches, says Mic Drop’s interior designer, Amy Morris of the Morris Project.
Sarah Rothman, center, of Oakland, and friend Rachel Bernstein, left, of Los Angeles, wait at the bar.
6. You can order nontraditional karaoke bites as you wait for your turn to sing
While Mic Drop offers some of the food you’d typically find at a karaoke lounge such as tater tots, truffle popcorn and pizza, the venue has some surprising options as well. For example, a 57 gram caviar service (served with chips, crème fraîche and chives) and shrimp cocktail from Santa Monica Seafood. For their pizza program, the Kremer brothers teamed up with Avalou’s Italian Pizza Company, which is run by Louis Lombardi who starred in “The Sopranos.” He’s the brainchild behind my favorite dish, the Fuhgeddaboudit pizza, which is made with pastrami, pickles and mustard. It might sound repulsive, but trust me.
As for the cheeky cocktails, they are all named after famous musicians and songs such as the Pink Pony Club (a tart cherry pomegranate drink with vodka named after Chappell Roan), Green Eyes (a sake sour with kiwi and melon named after Green Day) and Megroni Thee Stallion (an elevated negroni named after Megan Thee Stallion).
When John Lantigua, a retired journalist in Miami Beach, checked his email one recent morning, he was glad to see an invitation.
“It was like, ‘Come and share an evening with me. Click here for details,’” Mr. Lantigua said.
It appeared to be a Paperless Post invitation from someone he once worked with at The Palm Beach Post, a man who had left Florida for Mississippi and liked to arrange dinners when he was back in town.
Mr. Lantigua, 78, clicked the link. It didn’t open.
He clicked a second time. Still nothing.
He didn’t realize what was going on until a mutual friend who had received the same email told him it wasn’t an invitation at all. It was a scam.
Phishing scams have long tried to frighten people into clicking on links with emails claiming that their bank accounts have been hacked, or that they owe thousands of dollars in fines, or that their pornography viewing habits have been tracked.
The invitation scam is a little more subtle: It preys on the all-too-human desire to be included in social gatherings.
The phishy invitations mimic emails from Paperless Post, Evite and Punchbowl. What appears to be a friendly overture from someone you know is really a digital Trojan horse that gives scammers access to your personal information.
“I thought it was diabolical that they would choose somebody who has sent me a legitimate invitation before,” Mr. Lantigua said. “He’s a friend of mine. If he’s coming to town, I want to see him.”
Rachel Tobac, the chief executive of SocialProof Security, a cybersecurity firm, said she noticed the scam last holiday season.
“Phishing emails are not a new thing,” Ms. Tobac said, “but every six months, we get a new lure that hijacks our amygdala in new ways. There’s such a desire for folks to get together that this lure is interesting to people. They want to go to a party.”
Phishing scams involve “two distinct paths,” Ms. Tobac added. In one, the recipient is served a link that turns out to be dead, or so it seems. A click activates malware that runs silently as it gleans passwords and other bits of personal information. In all likelihood, this is what happened when Mr. Lantigua clicked on the ersatz invitation link.
Another scam offers a working link. Potential victims who click on it are asked to provide a password. Those who take that next step are a boon to hackers.
“They have complete control of your email and, in turn, your entire digital life,” Ms. Tobac said. “They can reset your password for your dog’s Instagram account. They can take over your bank account. Change your health insurance.”
Digital invitation platforms are trying to combat the scam by publishing guides on how to spot fake invitations. Paperless Post has also set up an email account — phishing@paperlesspost.com — for users to submit messages for verification. The company sends suspicious links to the Anti-Phishing Working Group, a nonprofit that maintains a database monitored by cybersecurity firms. Flagged links are rendered ineffective.
The scammers’ new strategy of exploiting the desire for connection is infuriating, said Alexa Hirschfeld, a founder of Paperless Post. “Life can be isolating,” Ms. Hirschfeld said. “When it looks like you’re getting an invitation from someone you know, your first instinct is excitement, not skepticism.”
Olivia Pollock, the vice president of brand for Evite, said that fake invitations tended to be generic, promising a birthday party or a celebration of life. Most invitations these days tend to have a specific focus — mahjong gatherings or book club talks, for instance. “The devil is in the details,” Ms. Pollock said.
Because scammers don’t know how close you are with the people in your contact list, fake invitations may also seem random. “They could be from your business school roommate you haven’t spoken to in 10 years,” Ms. Hirschfeld said.
Alyssa Williamson, who works in public relations in New York, was leaving a yoga class recently when she checked her phone and saw an invitation from a college classmate.
“I assumed it was an alumni event,” Ms. Williamson, 30, said. “I clicked on it, and it was like, ‘Enter your email.’ I didn’t even think about it.”
Later that day, she received texts from friends asking her about the party invitation she had just sent out. Her response: What party?
“The thing is, I host a lot of events,” she said. “Some knew it was fake. Others were like, ‘What’s this? I can’t open it.’”
Andrew Smith, a graduate student in finance who lives in Manhattan, received what looked like a Punchbowl invitation to “a memory making celebration.” It appeared to have come from a woman he had dated in college. He received it when he was having drinks at a bar on a Friday night — “a pretty insidious piece of timing,” he said.
“The choice of sender was super clever,” Mr. Smith, 29, noted. “This was somebody that would probably get a reaction from me.”
Mr. Smith seized on the phrase “memory making celebration” and filled in the blanks. He imagined that someone in his ex-girlfriend’s immediate family had died. Perhaps she wanted to restart contact at this difficult moment.
Something saved him when he clicked a link and tried to tap out his personal information — his inability to remember the password to his email account. The next day, he reached out to his ex, who confirmed that the invitation was fake.
“It didn’t trigger any alarm bells,” Mr. Smith said. “I went right for the click. I went completely animal brain.”
The new scam comes with an unfortunate side effect, a suspicion of invitations altogether. It’s enough to make a person antisocial.
“Don’t invite me to anything,” Mr. Lantigua, the retired journalist, said, only half-joking. “I’m not coming.”
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