Lifestyle
Moo Deng is a worldwide phenomenon. How long can this global love affair last?
CHONBURI PROVINCE, Thailand — Like most babies, Moo Deng spends a lot of her time sleeping.
But for a few hours a day, the 4-month-old pygmy hippo springs to life, gumming on leaves, zooming around the compound and tossing her head in a silent, open-mouthed roar.
These moments, captured by her zookeeper at the Khao Kheow Open Zoo, a two-hour drive south of Bangkok, and shared on social media, have turned her into a global phenomenon — an “It Girl” beloved for her sporadic fits of energy and proclivity for snapping toothlessly at hoses and knees.
Named for a Thai dish that means “bouncy pork,” Moo Deng has become the muse for cakes, clothing, tattoos and fireworks. Make-up tutorials demonstrate how to get her baby-pink cheeks and dewy skin. Partygoers this year dressed up as the pygmy hippo for Halloween. So did comedian Bowen Yang on “Saturday Night Live.”
Her remote home — struggling post-pandemic — has been transformed into a must-see attraction for international visitors and locals alike.
When Dong Kim, a 29-year-old travel blogger, visited in October, the excited hordes reminded him less of a zoo than a South American soccer game or a Black Friday door-buster sale.
Atthapon Nundee, the 31-year-old zookeeper who makes viral videos of Moo Deng, sprays the pygymy hippo and her mother with water.
(Lauren DeCicca / Getty Images)
“I’ve gone to the Great Wall, I’ve been to the Colosseum, I’ve been to Christ the Redeemer in Rio. But [this] was by far the longest line I have ever waited in,” he said. “It literally felt like people would die for this hippo.”
But Moo Deng’s sudden celebrity was not merely a result of cute animal worship or the fact that the pygmy hippo, native to West Africa, is an endangered species. While she was gestating in her mother’s womb, a 31-year-old zookeeper was hatching a plan to make her a star — tapping into a worldwide culture well-versed in capitalizing on internet virality — and save the financially strapped zoo while he was at it.
Today Moo Deng is the most famous animal on the planet — for now.
Nearly 175 years before Moo Deng took the internet by storm, another exotic hippo helped save the world’s first modern zoo.
The London Zoo began in 1828 as a members-only community, but opened to the public in 1847 in an effort to earn enough money to stay afloat. Visitors grew bored until Obaysch, named after an island in the Nile where he was captured, arrived three years later. The first hippo seen in Europe since the Roman Empire, Obaysch doubled annual attendance, drawing up to 10,000 visitors every day.
Baby hippo Moo Deng plays with a zookeeper in the Khao Kheow Open Zoo in September.
(Sakchai Lalit / Associated Press)
“They had to figure out a way to keep the public interested,” said Robert Young, professor of wildlife conservation at the University of Salford in England. “The thing they came up with … celebrity animals.”
Fans quickly grew attached to their favorites. When the zoo sold Jumbo the Elephant to P.T. Barnum in 1882, people protested in the streets. A black bear named Winnipeg became the inspiration for Winnie the Pooh. Guy, a western lowland gorilla, received hundreds of birthday cards every year.
In the 20th century, animals in the news (Sea Biscuit) and movies and TV shows (Lassie, Punxsutawney Phil) captured the hearts of millions. Recently, social media has hastened the celebrity of animals such as Grumpy Cat and JiffPom the Pomeranian.
In 2017, Fiona the hippo went viral as the internet watched her fight to survive infancy. She became the biggest attraction at the Cincinnati Zoo, inspiring her own ice cream flavor and children’s book.
Leasing giant pandas from China has become another strategy to draw visitors. But foot traffic subsides after two years, Young said, while zoos spend hundreds of thousands of dollars a year on bamboo that the pandas sometimes refuse. Pygmy hippos can be housed and supported at a much lower cost.
Huanyuan Zhang, a college lecturer at the University of Oxford who studies West African forest ecology, was surprised to see a sudden uptick this year in references to his research. He was even more perplexed to discover the cause was a pygmy hippo born more than 6,000 miles from its native land.
“It just feels like, out of many friends, one of your normal friends suddenly becomes a celebrity,” said Zhang, who hopes that the world’s love for Moo Deng will raise awareness of deforestation and endangered species. There are fewer than 2,500 pygmy hippos alive today compared with 12,000 in 1982.
Male panda Yun Chuan was introduced to the public at the San Diego Zoo on Aug. 8. He and Xin Bao, a female panda, are the first giant pandas to enter the United States in 21 years.
(Myung J. Chun / Los Angeles Times)
Young said zoos often rely on ambassador animals to bring attention to lesser-known species. But social media, he noted, will always favor the Moo Dengs of the world.
“The big issue,” he said, “is how do you get people interested in the uglies? Getting people to want to save a gorilla is quite easy. You try and get people to want to save the aye-aye, possibly the ugliest primate on the planet, it’s a very different situation.”
Four years after the pandemic choked off travel, the Khao Kheow Open Zoo had yet to recover from the financial devastation. With only a couple of thousand visitors per day, the budget to maintain the 2,000-acre zoo was stretched to its limits. Anticipating the birth of Moo Deng, zookeeper Atthapon Nundee sensed an opportunity.
Nundee had studied to become an electrician, but his first job out of college was driving a 10-wheeler truck around the country. After three years, he started looking for something closer to home. The zoo, a five-minute commute, had an opening.
Fans cheer as they see Moo Deng run around her enclosure at the Khao Kheow Open Zoo in November.
(Lauren DeCicca / Getty Images)
Over the next eight years, Nundee cared for baby hippos including two of Moo Deng’s siblings: Moo Wan and Moo Tun, also named after Thai pork dishes. Though Moo Deng is known for her spunky attitude, Nundee said her siblings were just as playful. So with one more on the way, Nundee was ready.
“I know when they become funny, how to set up the camera, which angle to take to see when it’s cute,” he said. “Any animal can become famous like Moo Deng. It’s just about how friendly you are with the animal.”
Moo Deng’s celebrity did not start at the moment of birth. To his dismay, Nundee discovered her crawling around the morning of July 10, placenta still attached. Their star had been born, and no one was there to document it.
But in August, the zoo posted a poll online asking the public to help choose her name. Nundee’s close-ups of her splashing in the water and snapping at the air started circulating on social media. Admirers called her sweet, or feisty, or filled with silent rage. Japanese residents working at the local industrial park shared their fan art, boosting Moo Deng’s popularity in Asia before her stardom spread west.
By September, the meme-ification of Moo Deng caught the attention of Molly Swindall, an influencer who posts about baby animals and attending Taylor Swift concerts. The 29-year-old was so enchanted that, in early October, she flew more than 18 hours to Thailand, stood at Moo Deng’s enclosure for four hours, and then returned to New York the next day.
“She’s absolutely iconic,” Swindall said. “Whether it’s a leaf being stuck to her face for a couple hours, or her moon-walking or biting knees, or running around with rage, she just makes you laugh.”
Moo Deng was so popular the zoo had to impose time limits for viewing.
(Sakchai Lalit / Associated Press)
By the time she returned for a second visit, the zoo had implemented a five-minute limit for spectators, after some were caught tossing water and shells to try and rouse Moo Deng. Swindall still went through the queue three times, waiting about 30 to 40 minutes each round.
The baby hippo’s economic impact has spread far beyond the confines of the sprawling zoo in the Chonburi province.
Miles before the entrance, posters advertise Moo Deng ice cream. The restaurants in the area fill up at lunch time, and on weekends, makeshift stalls sell snacks along the road. The influx of tourists has boosted local incomes by 50% or more, nearby workers said. The month that Moo Deng was born, the zoo had fewer than 85,000 visitors. In October, total attendance rose to 300,000.
Decha Sontanawan, 59, spent about $1,000 to turn an old truck into a merchandise stall for Moo Deng pillows, keychains and T-shirts to sell outside the zoo. He recouped his investment within four days.
Decha Sontanawan sells Moo Deng pillows outside the Khao Kheow Open Zoo.
(Lauren DeCicca / Getty Images)
Now Sontanawan, his wife, his daughter and his son-in-law, who all work at the zoo, take turns manning the Moo Deng truck on their days off. “Everything is better. Everything’s recovered, everything’s booming,” he said.
Skyrocketing demand has transformed Moo Deng into a brand. About 70 companies have paid the zoo for the rights to print Moo Deng on products such as pajamas, pet food and squeezable condensed milk. A supermarket chain launched its own Moo Deng-themed coconut juice after signing a contract that Monday afternoon, and a Thai business newspaper has reported that collaborations are expected to generate as much as $4.3 million by March.
The money now accounts for 30% of revenue, according to Narongwit Chodchoy, the zoo director, with proceeds going to zoo habitats and living conditions, as well as flood victims in Chiang Mai in Northern Thailand.
“We have to try to keep her fame and reputation going,” he said, although, at some point Moo Deng will lose some of her youthful “bounciness,” and thus some of her charm.
That’s why the zoo is already pursuing its next viral hit. A pair of two-toed sloths is on the way, in the hopes that with three — two males and one female— the zoo will produce another small star. If so, the baby also will be managed by Moo Deng’s keeper, who has enjoyed his own rise in fame, if not in pay.
For now, Moo Deng is still going strong. Other baby pygmy hippos born this year in Sydney, Berlin and Edinburgh, have failed to match her allure. The Edinburgh Zoo promoted its newborn pygmy hippo Haggis this month as a rival to Moo Deng’s famed cuteness. It later apologized for pitting the babies against each other.
Skyrocketing demand has transformed Moo Deng into a brand. About 70 companies have paid the zoo for the rights to print Moo Deng on products such as pajamas, pet food and squeezable condensed milk.
(Sakchai Lalit / Associated Press)
When a common hippo was born in Eastern Thailand last month, she was named by an online poll too, and christened Hom Daeng, the Thai word for “Shallot.” Pygmy hippo fans couldn’t help but compare. One Facebook user complained that Hom Daeng was too dry, unlike Moo Deng, who appears perpetually moist in photos.
“This one has no aura at all,” another critic wrote. “It’s like comparing a celebrity to an ordinary person.”
Special correspondent Poypiti Amatatham in Bangkok contributed to this report.
Loretta Devine, Whitney Houston, Angela Bassett and Lela Rochon.
Merie W. Wallace/20th Century Fox
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Merie W. Wallace/20th Century Fox
Many (predominantly white) critics weren’t impressed with the movie Waiting to Exhale when it opened in 1995, but moviegoers turned up in droves, making it one of the year’s most profitable blockbusters. In a year in review, The Los Angeles Times dubbed the film a “social phenomenon,” and the NAACP lavished it with Image Awards for outstanding motion picture, lead actress and more.
Ten years after the acclaim and controversy of Alice Walker’s The Color Purple and long before Girlfriends and Girls Trip, the Black women’s ensemble feature was a rarity on American screens — until this modestly-budgeted, big studio adaptation of Terry McMillan’s popular novel made its splashy debut. Before Sex and the City delved into the sex lives and pitfalls of urban daters, audiences thrilled to the sight of Waiting to Exhale foregrounding the romantic lives and misadventures of four successful, single Black women, not just struggling to survive but striving for more.
“I haven’t gotten to the point where I’ll take whatever I can get,” Savannah (Whitney Houston) observes in the movie as she refuses to settle and moves from Denver to Phoenix. “There’s a big difference between being thirsty and being dehydrated.” Her words apply to people craving better representation just as they do women seeking a love connection. In the 1990s, even as Black women were often let down while longing to see themselves depicted fully and lovingly as the center of stories, they kept seeking, often practicing what cultural scholars like Stuart Hall called negotiated reading. As scholar Jacqueline Bobo wrote in 1988 about Black women’s reception of Steven Spielberg’s adaptation of The Color Purple, “we understand that mainstream media has never rendered our segment of the population faithfully … out of habit, as readers of mainstream texts, we have learnt to ferret out the beneficial and put up blinders against the rest.”
A humane and cheeky comedy, Waiting to Exhale exceeded expectations. So women showed up for this movie, surprising even executives at 20th Century Fox, who should have known better given the book’s fans, who swamped readings by the thousands. They gathered. They laughed. They talked. And they cried. And many saw themselves in these four women, regardless of whether they had the wardrobes and lifestyles. They knew the pain of working hard and successfully building a life, when all your family can see is that you don’t have the thing that was still so prized and validating in women’s lives — a socially approved, church-sanctified partner.
The resonance was so deep that, for years to come, the story’s reception and impact would be studied by cultural scholars. When Jacqueline Bobo published her book-length study of Black Women as Cultural Readers, Waiting to Exhale was a recurring reference point. And when Black women authors are asked about their influences, the movie Waiting to Exhale and the novel remain touchstones, the movie often the first point of entry. Danyel Smith called them “era-defining” and Tara M. Stringfellow wrote that McMillan taught her that “sisterhood is as necessary as air.”
Translating the 1992 novel to the big screen
Like its faithful film adaptation, Terry McMillan’s bestselling book is tart, a little raunchy and incisive. Her portraits of four successful, attractive middle class Black women reflected important social changes including dramatic increases in working women and educational attainment in the 1970s to 1990s. While sociologists were debating “the marriage gap” and declining rates of marriage for Black women, McMillan’s characters were commiserating, exploring their options, cracking jokes, and braving the messy realities of life in a series of poignant and laugh out loud funny vignettes.
It’s remarkable to see how well the film and book correspond: While the screenplay compressed some of the novel’s nuance and depth of the characters’ inner monologues and social observation, it retained and even amplified the emotional power. Despite some biases of the time – including fatphobia and the use of homophobic slurs – the themes hold up.
Casting was a major part of the charm. Still hot off her film debut opposite Kevin Costner in The Bodyguard in 1992, Whitney Houston gave the film unmistakable star power. As Savannah, she’s ambitious, the one who isn’t willing to settle no matter how much her mother pressures her, even as she recognizes dwindling odds of marriage and an abundance of frustrating suitors. She doesn’t need rescue or support. What she craves, what she’s holding out for, despite the insistent phone calls from her mother, is soul-deep love. In the book, Savannah admits to herself: “I worry. I worry about if and when I’ll ever find the right man, if I’ll ever be able to exhale… Never in a million years would I have ever believed that I would be thirty-six years old and still childless and single. But here I am.” On screen she’s just 33, and expresses these sentiments in conversation. The point lands just the same.
Savannah’s best friend Bernadine (Angela Bassett) is equal parts fierce and wounded — an impeccably groomed and soon-to-be divorced mother of two who helped build a business with her husband and then got unceremoniously dumped for a younger and whiter version of herself. Loretta Devine is striking as Gloria, a hair salon owner who has all but given up on romantic love, and dreads the looming empty nest after focusing all her attention on mothering her 17-year old son (flawlessly cast in Donald Faison of Clueless). Last, there’s the beautiful yet naive corporate underwriter Robin, played by Lela Rochon, whose taste in men leaves a lot to be desired and provides comic gold in her hapless dating adventures. Robin’s motley crew of suitors include Mykelti Williamson delivering an indelible comic turn, Leon Robinson and Wendell Pierce.
The creative talent behind the scenes was also crucial to the film’s success. It was actor Forest Whitaker’s directorial debut, working with a screenplay co-written by McMillan and Oscar-winning writer Ronald Bass, best known at the time for Rain Man. The film’s episodic structure centering milestone holidays is a little choppy and uneven, but many of the scenes deliver a gut punch or laugh out loud joy. The writing duo faithfully distilled the character and tone from the source material including much of the original dialogue. Scholars Tina M. Harris and Patricia S. Hill argue that McMillan also “influenced directorial decisions and character development” on set, enriching the story’s authentic portrayals of Black women.
In the movie’s single most enduring (and now iconic) scene, after Bernadine’s husband tells her he’s leaving her for the company accountant, she empties his closet and then burns his expensive belongings and car in their driveway. Clad in a black lace nightgown and silk robe, with a cigarette in her hand and a look of disgust and determination on her face, Angela Bassett vibrates with indignation — heightened with sound effects and camera angles, it’s a brilliantly provocative visual translation of the events McMillan imagined in print. In the book, McMillan paints a similar picture with words. Bernadine is “feeling antsy,” fuming over being left after putting up with so much. Anger rising, she reflects on the excessive power her husband had wielded in their home and takes stock — of the “close to a thousand books, most in alphabetical order” and of John’s closet, with shirts “grouped by color” and suits “in order by designer” and of how he “had even counted the number of times they made love.” Concluding, “there was too much order in this damn house,” she frees herself, lighting most of his stuff on fire and throwing a garage sale, pricing every remaining possession at a dollar.
Three decades later, the appeal endures, despite reviews like the one in Salon that likened gender representation in Waiting to Exhale to “male bashing taken to an extreme,” “crack for the female psyche” and “cheap thrills and psychological lies masquerading as social commentary.” Three years after Waiting to Exhale‘s debut, Sex and the City would use a similar formula. Mirroring Whitaker’s production, SATC centered four white professional women pursuing romance and experiencing raunchy, farcical dating and sexual disappointments while embracing each other. It also paired action with contemplative voice overs and gave the women even more upscale and enviable lifestyles. The HBO show premiered to popular delight and somewhat better reviews, eventually garnering 54 Emmy nominations and 7 wins. Today, I see Waiting to Exhale as blazing a trail and deserving appreciation as a deeply human work of commercial art that took Black women’s lives and concerns seriously and executed its vision with style.
Pat Finn
‘The Middle’ Actor Dead at 60
Published
Veteran comedic actor Pat Finn — who starred in sitcoms like “The Middle” and “The George Wendt Show” — is dead from a cancer battle … TMZ has confirmed.
Family sources tell us Pat passed away Tuesday morning at his home in Los Angeles, and he was surrounded by his family.
Pat came up in Hollywood around the same time as his good friend Chris Farley. He and Chris attended Marquette University in 1987, played rugby together there … and were roommates in Chicago when they both joined the Second City comedy troupe.
In the early 90s, Pat landed a guest role as Joe Mayo on “Seinfeld” … and went on to play Dan Coleman on “The George Wendt Show,” and Phil Jr. on “Murphy Brown.”
He’s probably best known for his role on “The Middle,” where he played Bill Norwood from 2011 to 2018.
I don’t like to be the guy who post pics with celebrities that pass. But this guy wasn’t just a celebrity to me. He was a friend. One of the best dudes I knew with a PERFECT sense of humor. I love you Pat Finn and I’ll see again in the after , we can sing together and shake our… pic.twitter.com/pQhobHKbCZ
— Jeff Dye (@JeffDye) December 24, 2025
@JeffDye
Several of his co-stars and friends, including comedian Jeff Dye, have posted online tributes.
While Pat’s family sources would not confirm what kind of cancer he’d been fighting, there are reports he was diagnosed with bladder cancer several years ago.
Pat is survived by his wife Donna — to whom he’d been married since 1990 — and their 2 children.
RIP
The Tin Soldier, one of Nicolas Coppola’s marionette puppets, is the main character in The Steadfast Tin Soldier show at Coppola’s Puppetworks theater in Brooklyn’s Park Slope neighborhood.
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Every weekend, at 12:30 or 2:30 p.m., children gather on foam mats and colored blocks to watch wooden renditions of The Tortoise and the Hare, Pinocchio and Aladdin for exactly 45 minutes — the length of one side of a cassette tape. “This isn’t a screen! It’s for reals happenin’ back there!” Alyssa Parkhurst, a 24-year-old puppeteer, says before each show. For most of the theater’s patrons, this is their first experience with live entertainment.
Puppetworks has served Brooklyn’s Park Slope neighborhood for over 30 years. Many of its current regulars are the grandchildren of early patrons of the theater. Its founder and artistic director, 90-year-old Nicolas Coppola, has been a professional puppeteer since 1954.
The Puppetworks theater in Brooklyn’s Park Slope neighborhood.
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A workshop station behind the stage at Puppetworks, where puppets are stored and repaired.
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A picture of Nicolas Coppola, Puppetworks’ founder and artistic director, from 1970, in which he’s demonstrating an ice skater marionette puppet.
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For just $11 a seat ($12 for adults), puppets of all types — marionette, swing, hand and rod — take turns transporting patrons back to the ’80s, when most of Puppetworks’ puppets were made and the audio tracks were taped. Century-old stories are brought back to life. Some even with a modern twist.
Since Coppola started the theater, changes have been made to the theater’s repertoire of shows to better meet the cultural moment. The biggest change was the characterization of princesses in the ’60s and ’70s, Coppola says: “Now, we’re a little more enlightened.”
Right: Michael Jones, Puppetworks’ newest puppeteer, poses for a photo with Jack-a-Napes, one of the main characters in The Steadfast Tin Soldier. Left: A demonstration marionette puppet, used for showing children how movement and control works.
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Marionette puppets from previous Puppetworks shows hang on one of the theater’s walls.
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A child attends Puppetworks’ 12:30 p.m. showing on Saturday, Dec. 6, dressed in holiday attire that features the ballerina and tin soldier in The Steadfast Tin Soldier.
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Streaming has also influenced the theater’s selection of shows. Puppetworks recently brought back Rumpelstiltskin after the tale was repopularized following Dreamworks’ release of the Shrek film franchise.
Most of the parents in attendance find out about the theater through word of mouth or school visits, where Puppetworks’ team puts on shows throughout the week. Many say they take an interest in the establishment for its ability to peel their children away from screens.
Whitney Sprayberry was introduced to Puppetworks by her husband, who grew up in the neighborhood. “My husband and I are both artists, so we much prefer live entertainment. We allow screens, but are mindful of what we’re watching and how often.”
Left: Puppetworks’ current manager of stage operations, Jamie Moore, who joined the team in the early 2000s as a puppeteer, holds an otter hand puppet from their holiday show. Right: A Pinocchio mask hangs behind the ticket booth at Puppetworks’ entrance.
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A child attends Puppetworks’ 12:30 p.m. showing on Saturday, Dec. 6, dressed in holiday attire.
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Left: Two gingerbread people, characters in one of Puppetworks’ holiday skits. Right: Ronny Wasserstrom, a swing puppeteer and one of Puppetworks’ first puppeteers, holds a “talking head” puppet he made, wearing matching shirts.
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Other parents in the audience say they found the theater through one of Ronny Wasserstrom’s shows. Wasserstrom, one of Puppetworks’ first puppeteers, regularly performs for free at a nearby park.
Coppola says he isn’t a Luddite — he’s fascinated by animation’s endless possibilities, but cautions of how it could limit a child’s imagination. “The part of theater they’re not getting by being on the phone is the sense of community. In our small way, we’re keeping that going.”
Puppetworks’ 12:30 p.m. showing of The Steadfast Tin Soldier and The Nutcracker Sweets on Saturday, Dec. 6.
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Children get a chance to see one of the puppets in The Steadfast Tin Soldier up close after a show.
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Left: Alyssa Parkhurst, Puppetworks’ youngest puppeteer, holds a snowman marionette puppet, a character in the theater’s holiday show. Right: An ice skater, a dancing character in one of Puppetworks’ holiday skits.
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Community is what keeps Sabrina Chap, the mother of 4-year-old Vida, a regular at Puppetworks. Every couple of weeks, when Puppetworks puts on a new show, she rallies a large group to attend. “It’s a way I connect all the parents in the neighborhood whose kids go to different schools,” she said. “A lot of these kids live within a block of each other.”
Three candy canes — dancing characters in one of Puppetworks’ holiday skits — wait to be repaired after a show.
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Anh Nguyen is a photographer based in Brooklyn, N.Y. You can see more of her work online, at nguyenminhanh.com , or on Instagram, at @minhanhnguyenn. Tiffany Ng is a tech and culture writer. Find more of her work on her website, breakfastatmyhouse.com.
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