Lifestyle
My 17-year-old Honda, Broomhilda, met a tragic end. Why do we grieve when our cars die?
Our 17-year-old Honda CR-V (affectionately dubbed “Broomhilda”) met her tragic, premature demise last summer when a deer bolted out of neighboring woods, straight into her hood. My husband, who miraculously emerged unscathed, managed to drive it home and repair the dent. Unfortunately, unknown to us, radiator fluid slowly leaked into her engine until, months later, we pulled into our driveway to find our kids frantic as plumes of smoke rose out of her hood, every single alert on her dash alight like a Christmas tree. She was toast — and she smelled like it. Watching a tow truck pull her out of our driveway one last time, I felt an unexpected residue of sadness that lingered for longer than I expected.
I’m hardly the only person to grieve a little when my car dies. I’m also not the only person who felt compelled to give my car a name. George Slavich, director of UCLA’s Laboratory for Stress Assessment and Research, says we sometimes can’t help but attribute personality characteristics to the objects we love. “People tend to anthropomorphize certain objects like cars, even giving them names, because our brains are hard-wired to see personality even when it’s not possible to exist,” he says.
So why do we grieve our cars? If you live in L.A., your car isn’t just a means to get from A to B and back again — it’s a small mobile home. You spend so much time in your car that it becomes a transient residence where significant memories are made and milestones are met and, like our homes, we can get emotionally attached to the places where these things occur. For nearly two decades, Broomhilda was that mobile home for our family. We brought our now-teenage child home from the hospital in her. We used her to drop our oldest kid off at college. She carried us in sickness and health, on countless family road trips and terrifying jaunts to the emergency room. We stuffed her with furniture, balloons, cake, pets and more children than legally allowed to and from birthday parties. Her gray cloth backseat was covered with dog hair and a few remaining telltale stains of the regurgitated chocolate milk of a carsick toddler. As she was towed out of our driveway beyond sight, her scraps destined to resurrect other vehicles, I was confident she was dragged off to her metallic grave with a few errant Airpods, a good amount of loose change, and possibly a few baby teeth still lodged beyond reach in her cushions.
Even with the mounting malfunctions of age, Broomhilda housed myriad mementos and sparked zillions of mundane memories — the kind we make daily but take for granted. “Memories are inextricably linked to the context in which they are made, and for many people growing up in the United States, that context likely involved a memorable car or two,” Slavich explains. Because teenage brains are hot-wired (see what I did there?) to form social memories, important social experiences like a first date, first kiss or first joyride might link back to the car you drove or rode in at that time in your life. “When these types of life events occur, your brain encodes not just the circumstances of the event itself, but also the smells, tastes and contextual features of the environment. So, the cars in which our lives unfold become an inherent part of our personal story and history,” he says.
In a busy commuter city like Los Angeles, your car is one of the few places where you have complete control over your environment. Says Slavich: “Amongst all the hustle and bustle of the city, you can roll up the windows, set the temperature exactly how you like it, and play relaxing meditation music or, if you prefer, put on your favorite Jay-Z or Britney song and sing as loud as you want.” Also, whether you’re cognizant of it or not, your car is a space where you entertain. “Every time my friends came into my car they had an experience, whether it was through music or the adventure,” says Monica O’Neal, a Boston-based clinical psychologist and relationship expert.
Our cars also house various aspects of our interior and exterior lives. For one, they’re symbolic of our sense of self and autonomy. “Your car represents you,” says O’Neal. “In some ways, they hold such a sense of our identity, and some narrative of our life and our struggle.” On a surface level, for better or worse, you might be judged by the kind of car you drive, which is something of an L.A. epidemic. Says O’Neal: “Cars are kind of almost like your clothing. When people see you getting in and out of a car, you’re going to have an immediate sense of their identity.” She also says our cars are one of the few private spaces in our lives. “If you’re commuting, you’re spending a bunch of your life in your car. That might be the place where you have privacy, and time alone with your thoughts.” Losing a car might also mean losing a sacred space you might rely on to process your feelings.
The most important thing to know if you’re grieving for your car is you aren’t missing some random object — your car was a sacred space that served as a vessel for the memories you made in it. Any feelings of grief are perfectly normal, are common and, in due time, will pass. It’s been months since Broomhilda went to the scrap heap and I’m still car shopping. Naturally, I’ve been most attracted to CR-Vs. They won’t be Broomhilda, but I know they’ll fit us perfectly.
Lifestyle
How does the Kennedy Center board make decisions? This legal filing sheds some light
The Kennedy Center, the facade of which remains covered with a tarp, is seen in Washington, DC, on June 28, 2026. A US federal judge asked on June 24 for an explanation for why a tarpaulin continues to cover the facade of the Kennedy Center where President Donald Trump’s name was recently removed. District Judge Christopher Cooper gave the board of trustees of the performing arts venue until the end of July to explain “the purpose for and status of the tarp and scaffolding that Defendants have erected on the front portico of the Center.”
ALEX WROBLEWSKI/AFP via Getty Images
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ALEX WROBLEWSKI/AFP via Getty Images
More than two weeks ago, President Trump’s name was removed from the Kennedy Center facade though it is still covered by a tarp and the legal battle continues.
On Monday, a U.S. Department of Justice filing on behalf of the Kennedy Center included some surprises. The document was submitted in response to issues raised by lawyers for ex-officio board member Rep. Joyce Beatty of Ohio who is suing to remove President Trump’s name from the center and stop its closure for renovations.
Among the revelations, the Kennedy Center admitted that, during a board meeting on December 18, 2025, Beatty had been “muted and prevented from speaking.” It was at that meeting that the board voted to add President Trump’s name to the center. The filing later acknowledges the congresswoman was “prevented from voicing her opposition.”
The John F. Kennedy Center for the Performing Arts is a living memorial to its namesake. The guidelines for how the theatre complex spends federal dollars are very specific. Among other rules, it states that “no additional memorials or plaques shall be designated or installed.” Beatty argues adding Trump’s name runs afoul of those rules and that any change requires approval from Congress.
According to one of Beatty’s filings, “There was no advance notice in the agenda that the Board would be considering a name change,” a statement the Kennedy Center now does not deny. The center admits that, prior to voting, there was “no discussion about potential risks or downsides of the vote to adopt a secondary name for the Center.” Nor was there a board discussion “about any potential conflict of interest that might result from the vote.”
The center’s lawyers previously contended that if Trump’s name were to be removed, it would “lose money from donors who support” him and “impede the Center’s fundraising efforts.”
Closing for renovations
Earlier this year, Trump announced on social media that the Kennedy Center would close for two years for renovations. He wrote that he made the decision after “a one year review” with “Contractors, Musical Experts, Art Institutions, and other Advisors and Consultants.”
But, according to the center’s lawyers, Trump’s announcement “was made without presenting any plans, analyses, timelines, or funding information to his cotrustees and without any Board vote.”
The Kennedy Center has long denied reporting by The Washington Post that ticket sales plummeted after President Trump became the Center’s board chair. In Monday’s legal filing, the Center admits that, by October 2025, “nearly half of the Center’s tickets were going unsold.”
Lifestyle
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Lifestyle
‘Dead but Dreaming of Electric Sheep’ is full of beautifully written grotesqueries
Paul Tremblay has made a career of pushing the horror genre – and the novel format – in strange and exciting new directions.
In his latest, Dead but Dreaming of Electric Sheep, the author offers an amalgamation of genre elements that can be best described as psychological-dystopian-science-fiction horror. It’s a mouthful, but the narrative does all of that and more in a way that defies categorization.
Julia Flang is a former semiprofessional gamer working two mediocre jobs she dislikes and living in a modest ranch house in a San Fernando Valley suburb with her retired uncle, whom she calls Uncle Fun. Julia likes movies and gaming but there’s little else going on in her life, so when her estranged mother, the CFO of a large tech company, contacts her with a possible job offer – a “once-in-a-lifetime thing” that pays handsomely just for doing the interview – she hesitantly agrees.

The job is relatively simple and perfect for someone with gaming skills: using a controller built into a phone to get a man, who is stuck in a vegetative state, from California to the East Coast. It will require her to learn how to control his body – walking, moving, sitting, standing, using his arms – so she can maneuver him out of the facility where he is located and into cars and planes and through crowded airports. A fan of movies, Julia decides to call the man Bernie – after the movie Weekend at Bernie’s. When the ethics of the job start to bother her, Julia realizes it’s too late and she must go through with it. However, she’s soon contacted by people interested in sabotaging the whole thing, people who, like her, don’t align with the shady interests of conglomerates and those set to make “gobs of money” from this new, somewhat inhuman technology.
As with every Tremblay novel, any synopsis barely scratches the surface. The novel’s chapters alternate between Julia and you (yes, you). Julia’s chapters are “normal” in the sense that they obey a chronological order and have action, basic descriptions of movement and places, and dialogue. The chapters in second person are like fever dreams from a shadow world; the desperate experiences of a man trapped inside his own body with no control of it, no clue what’s happening to him, and only a few fragmented memories of his life. Also, Tremblay uses a similarly fragmented style of storytelling (including words and sentences trapped in boxes and/or “moving” on the page) to keep things interesting but also confusing and creepy.
This novel operates on several different levels and – planes of existence? Bernie has a head full of AI that controls his body, but his consciousness is still there and struggling to regain control, struggling to remember things. There are monsters, leeches, mysterious rabbits, and eerie shadows in his world, but the true horror comes from the lack of control, from being moved around against his will and having no clue what comes next. Bernie is the embodiment of losing control to AI, and when taken together with the commentary of creativity and AI and the meta interludes in which the author takes a wrecking ball to the fourth wall and addresses readers, this is the best anti-Generative AI story horror has produced so far.
Despite the horror of it, this is a very funny novel. Julia is sarcastic and struggles to keep her comebacks in line, but the conversations she has and messages she writes are always entertaining. However, the humor is far from the crown jewel here. That title belongs to a plethora of big ideas Tremblay juggles. The nature of life, death, and consciousness, the evils of conglomerates, inhuman practices in the name of capitalism, and AI, and even what it means to be human are all explored here: “Is Bernie alive? Is he feeling pain? Is he experiencing everything as a prisoner looking through the bars of his body? Has his consciousness been winnowed to a metaphysical keyhole? Where does consciousness begin or end?” There are no definite answers here, but the way Tremblay infuses humanity, love, the importance of relationships, and humor throughout the narrative provides the kind of answers that can’t and don’t need to be spelled out.
A genre-bender full of big ideas that constantly switches between a world full of real or uncomfortably plausible nightmares and a bizarre hellscape in which loss of self, memory, and autonomy are only the tip of the proverbial iceberg, Dead but Dreaming of Electric Sheep is a horrific and terrifyingly disorienting novel that invites readers to consider a future that already started. Tremblay has always been an innovator, but this beautifully written collection of real and imagined grotesqueries cements him not only as one of the most original and exciting voices in horror but also as one of the smartest, most engaging authors in contemporary fiction.
Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at @Gabino_Iglesias.

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