Lifestyle
'Magical Overthinking' author says information overload can stoke irrational thoughts
Amanda Montell hosts the podcast Sounds Like a Cult. She’s also the author of Cultish: The Language of Fanaticism.
Kaitlyn Mikayla/Simon & Schuster
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Kaitlyn Mikayla/Simon & Schuster
Amanda Montell hosts the podcast Sounds Like a Cult. She’s also the author of Cultish: The Language of Fanaticism.
Kaitlyn Mikayla/Simon & Schuster
How is it that we are living in the information age — and yet life seems to make less sense than ever? That’s the question author and podcast host Amanda Montell set out to answer in her new book, The Age of Magical Overthinking.
Montell says that our brains are overloaded with a constant stream of information that stokes our innate tendency to believe conspiracy theories and mysticism.
“We grow up hearing certain legends and myths and lore repeated ad nauseum, and we perceive them as true,” she says. “It’s the reason why … I genuinely thought, until I was an adult, that it took seven years to digest gum.” (Despite what you may have heard, bubble gum typically digests the same way as food.)
Montell, who co-hosts the podcast Sounds Like A Cult, says this cognitive bias is what allows misinformation and disinformation to spread so easily, particularly online. It also helps explain our tendency to make assumptions about celebrities we admire.
“We see a pop star whose music we enjoy, and we assume that they must also be worldly, kind, nurturing,” Montell says. “Or we enjoy someone’s fashion sense and we jump to the conclusion that they’re gregarious or maybe they speak other languages — we jump to these conclusions for which there is little or no evidence.”
Montell says that in an age of overwhelming access to information, it’s important to step away from electronic devices. “We are meant for a physical world. That’s what our brains are wired for,” she says. “These devices are addictive, but I find that my nervous system really thanks me when I’m able to do that.”
Interview highlights
On why humans developed cognitive biases
Cognitive biases are these deep rooted mental magic tricks that we play on ourselves. … Cognitive biases developed to help us reconcile our limited time, our limited memory storage, our limited cognitive resources, and our distinct craving for events to feel meaningful during a time when most of the problems that we were contending with every single day were physical. They were less abstract, less complex, less disembodied. And that was true for most of human history. So we developed these shortcuts unconsciously to help us make sense of our environment enough to survive. But now survival is, for the most part, taken care of. At least we’re not being attacked by saber tooth tigers anymore in the way that we were when these biases developed. And yet we’re still relying on them to confront much more complex and cerebral concerns, and that clash is causing a great deal of existential pain. I really think that our innate mysticisms are clashing with this onslaught of information, mass loneliness and almost a capitalistic pressure to know everything under the sun. And this is all happening without our conscious awareness.
On the “halo effect,” in which we jump to conclusions that celebrities are perfect
Once, when [human beings] were living in smaller communities, the halo effect prompted us to make decisions, like seeing someone with large muscles or intact teeth and thinking, “Oh, that person must be a skilled hunter or a skilled fighter, because they’ve avoided disfigurement from battle. That would be a great person to align myself with for survival.” But we’re now mapping this halo effect onto modern para-social relationships involving celebrities, and that’s setting everyone up for psychological failure, because we’re uplifting these celebrities onto a pedestal so high up in the sky that we can’t perceive their humanity anymore. … So when they post something or behave in a way that contradicts the expectations that we’ve cultivated of them, we feel the need to dethrone them, to punish them.
On “thought terminating clichés” and the notion of manifestation
It describes a sort of stock expression that’s easily memorized, easily repeated, and aimed at shutting down independent thinking or questioning. … So a new age thought terminating cliché might sound like something like, “Well, that’s just a victim mindset.” Or “you need to sit with that.” Or “don’t let yourself be ruled by fear.” …
[Manifestation] is its own kind of conspiracy theory, which is an edgy point to make. … We tend to believe naturally, as humans, that big events or even big feelings must have had a big cause. It just makes proportional sense to us. … Where manifestation starts to get a little sketchy, a little grift, a little culty dare I say, is when public figures on TikTok, on Instagram projected the language of capitalism onto it. When you start to take an absolutist approach to this subject matter and make it an ideology, it gets a little sinister. Because then when you start to think about it more surgically, if the fact that you are now gainfully employed and have a romantic partner whereas before that was not the case, is because you manifested it, you created a vision board, you bathed your crystals, you know your mind was in the right place.
Well, the inverse of that is that if you’re sick, poor, unemployed, unlucky in love, well then it must be your fault. And in the post-pandemic era, during this time of incredible tumult, socio-politically, globally, we’re craving someone to tell us how to reclaim some agency. And so I have noticed a generation of grifting manifestation gurus on TikTok and Instagram sweep into the market and promise, “Actually, I have a bespoke proprietary manifestation technique, and if you’re seeing this on your free you page, then it was meant for you. All you have to do is sign up for my $30 a month course, and I will impart this manifestation wisdom onto you. It will change your life. And if it doesn’t, well, that’s your fault.”
On the power of nostalgia
During times of present pain, we tend to sort of bathe in a warm bath of positive past memories as a coping mechanism. Excess nostalgia is a bad thing. It’s what’s causing everyone from Disney adults to MAGA zealots to go blackout drunk on nostalgia and have these complete delusions of the past. That can be really dangerous. But as I continued talking to nostalgia scholars, I realized that what’s called personal nostalgia, or when we romanticize memories from our own life, that’s a really positive thing because it helps us generate hope for the future. It’s engaging us in imagination. The future is unpredictable. We don’t have any artifacts from [the future]. … We do have relics from the past, and that helps us. We cling to those things in order to imagine a future that could feel that good. At the same time, we’re experiencing a glut of this cognitive bias called declinism, which is our proclivity to think that life is just getting irreversibly worse and worse and worse. And it’s all downhill from there. And again, that’s something that we do naturally.
Sam Briger and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.
Lifestyle
Bulgarian banger ‘Bangaranga’ bags country its 1st Eurovision win
Dara and her song “Bangaranga” skyrocketed Bulgaria to first place at the 70th Eurovision Song Contest
Helmut Fohringer/APA/AFP via Getty Images
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Bulgaria has won the 70th Eurovision Song Contest — the country’s first-ever win.
The achievement surprised many because Bulgaria wasn’t among the favorites to win in 2026. But with its catchy “Welcome to the riot!” refrain and bouncy vibe, performer Dara’s banging anthem “Bangaranga” bested 24 other nations for the glittery global musical crown at the finals on Saturday in Vienna, Austria.
Israel came in second, as it did last year. Ten competitors were eliminated from the original group of 35 in the semi-finals earlier this week.
In his appraisal of his 10 favorite Eurovision 2026 songs, NPR critic Glen Weldon called “Bangaranga” an “insanely catchy bop” and praised its “deep, profound, abiding grooviness.”
“Oh my god!” Dara yelled, as she accepted the Crystal Microphone, the event’s glass trophy, from last year’s winner, JJ of Austria.
As with other global cultural events, such as the Venice Biennale currently underway in Italy, the glittery annual songfest is intended as a display of goodwill and togetherness between nations. “In a world often divided, we stand united by music,” said host Michael Ostrowski at the conclusion of this year’s event.
Last year’s contest, held in Basel, Switzerland, saw record viewership, reaching 166 million viewers across 37 markets.
Israel prepared for ‘boos’
Eurovision has long strived to prioritize artistry over political antagonism. However, as with the Biennale, Eurovision 2026 found itself at the center of protests related to the war in Gaza.
Five countries — Iceland, Ireland, the Netherlands, Slovenia and Spain — pulled out between September and December 2025 in protest over event organizer European Broadcasting Union’s decision to allow Israel to participate amid the ongoing war in Gaza.
In this year’s finals, Israeli singer Noam Bettan performed the romantic breakup song “Michelle” in French, Hebrew and English. Unlike in the semifinal, when the artist sang over chants of “stop the genocide,” Bettan was not booed — at least audibly. The artist told The Times of Israel last month he had been practicing performing in front of hecklers.
There were both anti- and pro-Israel demonstrations in Vienna this week.
Pro-Palestinian protests at the last two contests called for Israel to be disbarred from Eurovision over its role in the conflict, as well as allegations it attempted to manipulate voting to favor its entries. The European Broadcasting Union changed its voting rules in response. Among other requirements, contestants and broadcasters are prohibited from taking part in promotional campaigns by third parties including governments. Countries outside of Europe, such as Israel, participate in Eurovision because eligibility is based on European Broadcasting Union membership, not necessarily geographics.
A double standard?
Although Israel’s participation is the biggest cause of dissent in 2026, the country avoided being banned from the event.
That was not the case with Russia, which was disbarred indefinitely from participating in the contest soon after launching its full-scale invasion of Ukraine in 2022.
European Broadcasting Union deputy director general Jean Philip De Tender defended his organization’s decision to allow Israel to perform, the European edition of Politico reported ahead of the contest’s final, because Israel’s public broadcaster KAN, the body behind its entry, is independent, whereas Russia’s state broadcaster, VGTRK, is run by the Russian government.
In a social media post on Friday, Spanish Prime Minister Pedro Sánchez decried the European Broadcasting Union for its “double standard.”
Lifestyle
Art is a sport, sport is an art. Both demand hustle — and make life worth living
This story is part of Image’s May Momentum issue, which looks at art as a sport and sport as an art.
I love reading about artists’ processes and routines. Toni Morrison wrote before dawn, before her children awoke and she had to go to her publishing job. In the evenings, Maya Angelou cleaned and put away all her dishes before she sat with what she had written that morning. Louise Bourgeois only worked in complete silence. These rules and routines are reminders that art takes work — and immense amounts of energy.
I grew up with parents who are also artists and had to find time for their projects between life and daily obligations. My father wrote in the early mornings; my mother painted in the hours after lunch and before we were done with school. It normalized for me the intentional carving out of time needed for writing, reading and creating. This has meant that I’m almost always busy doing something, and sometimes tired, but when I don’t carve that time, I’m guaranteed to be in a bad mood, like the hanger that comes from skipping a meal.
In Viv Chen’s interview with Tory Burch, the designer compares her workdays to being “like an athlete where it’s about discipline and grit and endurance.” It’s a sentiment that sums up much of the spirit of this issue, which looks at art as a sport and sport as an art. Whether you’re playing fútbol, sewing clothes or staging a performance, it’s a physical as well as mental game.
Above all, the artist-athletes in these pages show us the rewards of their commitments. We witness this in the sizzling images of Tory Burch shoes pounding the hot Los Angeles pavement and in the sportswear designs that Otis students worked on for months, the results literally glowing and electric. We witness this in the portraits of Betye Saar, regally dressed in a Gucci kaftan for what will likely be the last exhibition she’s involved in during her lifetime. We witness this in the image of our fútbol queen on the cover, strong, reverent and at peace. These stories are all reminders that dedication to one’s craft is not just life-giving, it’s what makes life worth living.
Elisa Wouk Almino Editor in chief
Jess Aquino de Jesus Design Director
Julissa James Staff Writer
Claire Salinda Staff Writer
Keyla Marquez Fashion Director at Large
Elizabeth Burr Art Director
Jamie Sholberg Art Director, Web
Samantha Lee Editorial Intern
Jennelle Fong Contributing Photographer
Tyler Matthew Oyer
Contributing Photographer
Mere Studios Contributing Producer
Cecilia Alvarez Blackwell
Contributing Producer
Dave Schilling Contributing Writer
Harmony Holiday Contributing Writer
Goth Shakira Contributing Writer
Cover
Fashion Direction Keyla Marquez
Creative Direction Keyla Marquez
Photography Guicho Palma
Styling Julianna Aguirre Martinez
Talent Yusra, Natalie Renelle Muñoz,
Dylan D. Lopez
Hair Jeanette Ponce
Makeup Selena Ruiz
Nails Tatiana Calderon
Production Cecilia Alvarez Blackwell
Styling Assistant Matzi
Videographer Abraham Anzurez Galindo
Gaffer James Armas
Photo Assistants Monica Zulema,
Diego Luciano
Image Flag Bas van Brandwijk
Lifestyle
‘Wait Wait’ for May 16. 2026: With Not My Job guest Ken Jennings
Ken Jennings attends Kennections during the 2026 TCM Classic Film Festival on April 30, 2026 in Hollywood, California. (Photo by Araya Doheny/Getty Images for TCM)
Araya Doheny/Getty Images
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Araya Doheny/Getty Images
This week’s show was recorded in Chicago with host Peter Sagal, judge and scorekeeper Bill Kurtis, Not My Job guest Ken Jennings and panelists Tom Bodett, Joyelle Nicole Johnson, and Faith Salie. Click the audio link above to hear the whole show.
Who’s Bill This Time
ou Cruise, You Lose; Renovations on the Mall; A New Game Show For Word Nerds
Panel Questions
No Justice For Plumbers
Bluff The Listener
Our panelists tell three stories about an unusual situation on the beach, only one of which is true.
Not My Job: Jeopardy‘s Ken Jennings lives down his demons and answers our three questions about H&R Block
Peter talks to Jeopardy legend and host Ken Jennings. Ken plays our game called, “What is H&R Block?” Three questions about H&R Block, the subject of the Jeopardy question Ken got wrong and it ended his 74 game win streak.
Panel Questions
Open Your Heart and Lock Up Your Assets; Restaurants Get Clingy
Limericks
Bill Kurtis reads three news-related limericks: Uranus Overshadowed; Running From Romance; Double Date Danger
Lightning Fill In The Blank
All the news we couldn’t fit anywhere else
Predictions
Our panelists predict, what will be the next show made out something we do to kill time?
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