Streaming services are now awash with documentaries — more often than not with a murder somewhere in the title. What does this boom mean for the industry? Is this even still journalism? In this measured piece, Reeves Wiedeman brings to light the important questions the industry is now —necessarily — asking itself.
One award-winning investigative filmmaker told me she gets regular notes from her agent — documentary directors didn’t used to have agents — about what streamers are looking for, and they weren’t the kinds of films she was used to making. “I’m getting, ‘Did anybody murder your sister, and do you want to make a film about that?’” she said.
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Anyone lucky enough to have a pet in this lifetime understands the pain of having to put that beloved down when the excruciating time comes. But, did you ever consider how repeatedly euthanizing sick and old pets takes its toll on on those trusted to provide a painless demise? At Slate, veterinarian Andrew Bullis helps us understand the high personal toll exacted on those burdened with offering the final compassion.
So, I’m left with euthanasia or no euthanasia. No euthanasia will lead to more suffering and more trauma for Lacey before she inevitably dies, likely a slow and agonizing death at that—or one done by her owner with a gunshot.
There in the clinic, Miller’s words come crashing back: “Do it flawlessly.” Lacey deserves that, at the very least. Despite her owners’ decision, she at least deserves to die in peace. “You will do it painlessly,” I tell myself.
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Hollywood is the last place you’d expect to meet Johna Kay Ramirez. She doesn’t come across as cutthroat. Thin, with auburn hair and warm eyes, Johna is thoughtful when she speaks and quick to apologize when she goes on a tangent. She’s the kind of person who knows that “bless your heart” is often a veiled insult. Hollywood, with all its glitz, glam, and high drama, became part of Johna’s story because of her children.
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Born and raised in the Great Plains, Johna met Nelson Ramirez at a department store in Enid, Oklahoma; she sold shoes, he worked in menswear. They married, and in 1991, when Nelson got a job as a tech recruiter in Texas, the Ramirezes moved to Austin. Johna did video production for a local news station, then worked for a state agency. In 1998, when the Ramirezes had their first child, a daughter they named Liana, Johna became a stay-at-home mom. A son, Jentzen, came along eight years later.
Liana caught the entertainment bug first. What started as recreational dance classes quickly evolved into a passion for the performing arts. Liana loved being under bright stage lights, and Johna was proud to watch her precocious toddler blossom into a talented young girl. Liana appeared in local dance and theater productions, and by the time she was 13, her ambitions had surpassed the scope of what Austin could offer. She dreamed of being on the Disney Channel, of making it big in Hollywood. If Selena Gomez, a half-Latina teenager from Texas just like her, could become a star, Liana was sure she could, too. She had the talent and she had Johna, her chauffeur, line-reading partner, meal deliverer, videographer, and number one fan. “I knew how much my daughter wanted this, how much it meant to her,” Johna said. “So whatever I could do, whatever skills I had, I would use them to help.”
In September 2011, Johna snapped a photo of Liana at an airport gate. Her smile is all teeth, and a black bow holds back a portion of her curly brown hair. Mother and daughter were on their way to Los Angeles for Liana’s first Hollywood audition. The role was in a production of A Snow White Christmas, a stage musical. If cast, Liana would appear with Neil Patrick Harris, then a fan favorite on TV’s How I Met Your Mother, and with Lindsay Pearce of The Glee Project.
The audition was held at the Westfield Culver City mall on a Saturday morning. Kids and their guardians hustled inside and waited near a stage situated between Macy’s and Victoria’s Secret. Liana received her audition number and practiced the dance routine she’d be performing. She breezed through the first cut and kept going. In the final round, she danced to Michael Jackson’s “Thriller.” At the end of the number, right as the audience began to applaud, Liana looked over at her mom, beaming.
Johna announced the good news on Facebook. “She nailed it and she got a role as a dancer,” Johna wrote. “Can you hear us screaming?” Back in Texas, the Austin American–Statesman ran a piece about Liana. “Teen heads to Hollywood to dance in her dramatic debut,” the headline read.
The Ramirezes decided that Nelson would stay in Texas, where he had recently started his own business, while Johna took Liana and five-year-old Jentzen to California for the duration of the production. They would be joined by Johna’s mother, Martha, who would help with child care and managing Liana’s obligations. Johna drove her kids and mom to Los Angeles, a more than 20-hour trip mostly through dry, flat rattlesnake country. She’d never taken a leap like this—never lived somewhere like Los Angeles, been around serious entertainment people, or parented without Nelson. Johna was leaving her comfort zone in the rearview mirror.
She was surprised by how much she liked Los Angeles. Within a few days of arriving, she and Martha had their first celebrity encounter, an exchange with Kiefer Sutherland over potatoes at a Whole Foods. The city’s traffic was a pain, but they managed to sightsee, visiting the Hard Rock Cafe and Universal Studios, where Jentzen posed with actors dressed up as Dora the Explorer and the donkey from Shrek. Liana stayed busy with the stage production, and Johna spent long hours at the theater, watching as her daughter rehearsed and had costume fittings. Liana would appear in 32 performances over two months, working straight through the holidays.
When the show wrapped, the Ramirezes reunited in Austin. Within a year, however, they decided to resume living as a split family. The musical had led to auditions and bookings for Liana, and she needed to be closer to LA to take advantage of them. Johna relocated to California full-time with her kids and tended to their day-to-day needs, while Nelson provided financial support from afar. Liana made appearances on Nickelodeon, the Disney Channel, and the prime-time network shows Criminal Minds and The Goldbergs.
As it turned out, Liana wasn’t the only family member who had star potential. With a smattering of freckles and a megawatt smile, Jentzen drew attention from casting directors, talent, and other industry insiders when Johna brought him on set with his sister. “You’ve got to put him in commercials,” stage moms told Johna, pinching Jentzen’s cheeks and ruffling his shaggy brown hair. He was in the sweet spot for child actors: old enough to memorize lines, but still young enough to be considered cute. Soon Jentzen was building out his own IMDb page, appearing in web series, short films, and the Lifetime movie Babysitter’s Black Book.
For Johna, Jentzen’s success further validated her decision to move to Los Angeles. Every parent hopes that a child will find their thing. Other families travel to soccer tournaments, move across the country to train with gymnastics coaches, or spend thousands on STEM camps where kids learn to code and build robots. Liana and Jentzen didn’t just like acting—they were good at it. Plus, their budding careers allowed Johna to spend time with them, whether that was backstage at rehearsals, stuck in gridlock on the 101, or putting together audition tapes at home. “It wasn’t just something they did,” Johna said. “It was something we all did together.”
Without auditioning for it, Johna had been cast in a new role: “momager.” She played it well, surprising even herself with how easily she toggled between cooking meals and attending movie premieres. She learned how to advocate for her kids’ needs and when to say no on their behalf.
As Jentzen approached his teenage years, he began kicking around the idea of getting into YouTube. A child actor’s presence on social media was increasingly important to casting agents and directors. Johna, whose experience with social media was limited largely to updating her Facebook account, wasn’t convinced. “I just didn’t know what we’d post,” she said with a shrug.
Then, eight years after arriving in Hollywood, the Ramirezes saw a promising ad, known as a breakdown, on LA Casting, a website that film, TV, and online productions use to enlist talent. A breakdown typically includes a description of the project, the parts to be cast, and the pay rate, along with information about how to audition. The breakdown the Ramirezes saw was for something called the “Piper Rockeele Show,” which was planning to shoot a YouTube video on the Venice Beach boardwalk. Described as taking inspiration from the movie Grease, the shoot would involve a tween character named Chase brushing off Piper, the show’s eponymous star, to look cool in front of his friends. Chase seemed like a good fit for Jentzen; the listing offered $1,500 for eight hours of work, a very good rate.
The Ramirezes weren’t familiar with Piper Rockelle—her name was spelled wrong in the breakdown—but an internet search led to a tween girl with a YouTube channel boasting hundreds of hours of video content, including original songs, makeup tutorials, and staged pranks and challenges like “24 Hours HANDCUFFED to my ‘BOYFRIEND.’ ” Jentzen showed Johna his iPhone screen. “Mom, she’s got a lot of subscribers,” he said—more than two million.
Johna didn’t have a problem with Jentzen participating in another kid’s social media content. It was easier than striking out on his own in the wilds of YouTube. Jentzen replied to the ad and was asked to come in for an audition.
The day of the tryout, the Ramirezes had another appointment across town and were running late. Johna tracked down a number for the person, a voice coach, who’d posted the breakdown on LA Casting. According to Johna, the coach assured her there wouldn’t be a problem. “They really wanted him at the callback,” he said. “They really liked him.”
It is one of many moments that now haunt Johna. “Can you imagine if we would have missed the callback?” she said, shaking her head. “How maybe life would’ve been different?”
More than three years later, Piper Rockelle’s popularity has exploded. She has more than 25 million followers across Instagram, TikTok, and YouTube. There are hundreds, perhaps thousands, of fan pages dedicated to her. Piper has staged live meet-and-greets and musical performances around the world, and she sells her own line of merchandise. She lives in a pink and purple house worth $2.3 million in Sherman Oaks, previously owned by the actress Bella Thorne.
But all is not well in Piper’s world. Her own momager, Tiffany Smith, is being sued by 11 former members of the Squad, the name given to the circle of child actors who appear in Piper’s videos and ostensibly are her friends. Two of the plaintiffs are cousins of Piper’s. The kids allege that, when they were in the Squad, Smith verbally, physically, and in some cases sexually abused them. They also claim that Smith knowingly produced exploitative content featuring her daughter and other minors. “Smith would often boast to Plaintiffs and others about being the ‘Madam of YouTube’ and a ‘Pimp of YouTube,’ and that she ‘makes kiddie porn,’ ” states the lawsuit, which was filed in January 2022. Smith’s boyfriend, Hunter Hill, and Piper Rockelle Inc. are also defendants in the suit. Hill, who works behind the scenes to produce Piper’s YouTube videos, is accused of conspiring with Smith to “sabotage” the plaintiffs’ careers after they left the Squad.
Johna knows the plaintiffs and their parents personally. She doesn’t doubt their claims. However, she isn’t part of the lawsuit. For the past few years, Johna has been fighting a legal battle of her own. It began after Jentzen auditioned for Piper’s team, and it has pitted her against Smith as well as her own family. Today, according to Johna, all she wants is to have a relationship with her children again.
This story is based on interviews with Johna and Nelson Ramirez; two of the plaintiffs’ mothers, Steevy Areeco and Angela Sharbino; and the plaintiffs’ attorney, Matthew Sarelson. It draws on hundreds of pages of court documents, personal communications shared by sources, and the trove of social media content produced by Piper and the Squad. Smith and Hill did not respond to requests for comment. They have denied the allegations against them.
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It affected Maya Angelou and Neil Gaiman. Before it was a well-known syndrome — and you and/or someone you know is likely affected by it — it was referred to as a phenomenon. What exactly are we talking about here? Why, it’s imposter syndrome, that feeling that you have nothing of real value to contribute, and that soon, you’ll slip up and your true status as a sham will be revealed to the world. At The New Yorker, Leslie Jamison discovers that imposter system could very well be rooted in childhood. Upon deeper investigation, she finds that since being coined 50 years ago, it’s become a term that deflects us from placing our attention on the arbitrary rules, barriers, and systems that cause us to feel inferior in the first place.
For both types of “impostors,” the crisis comes from the disjunction between the messages received from their parents and the messages received from the world. Are my parents right (that I’m inadequate), or is the world right (that I’m capable)? Or, conversely, are my parents right (that I’m perfect), or is the world right (that I’m failing)? This gap gives rise to a conviction that either the parent is wrong or the world is.
Imes asked if I got anxious before interviews like this—confessing that she always does—and soon I was talking about how shy I’d been in junior high school, and how I still worried that the wrong interview questions would expose how little I knew about the subject, or somehow reveal that I’m not a “real” journalist. Run-of-the-mill impostor feelings.
In 2020, almost fifty years after Clance and Imes collaborated on their article, another pair of women collaborated on an article about impostor syndrome—this one pushing back fiercely against the idea. In “Stop Telling Women They Have Imposter Syndrome,” published in the Harvard Business Review, in February, 2021, Ruchika Tulshyan and Jodi-Ann Burey argue that the label implies that women are suffering from a crisis of self-confidence and fails to recognize the real obstacles facing professional women, especially women of color—essentially, that it reframes systemic inequality as an individual pathology. As they put it, “Imposter syndrome directs our view toward fixing women at work instead of fixing the places where women work.”
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The Ukrainian city of Izyum was occupied by Russian forces for 162 days. In that time, many residents, especially ones whose occupations, skills, or assets made them useful to the Russians, faced one difficult choice after another as they struggled to survive. When the Ukrainian military retook Izyum, the city was confronted with a new dilemma: determining who had “collaborated” with the Russians and should be punished accordingly:
In Kharkiv, the capital of the region, I met with Andriy Kravchenko, a prosecutor who works with Ukraine’s security service, the S.B.U., in identifying and charging suspected collaborators in newly liberated territories. He walked me through the Ukrainian criminal code for Article 111(1), the law governing collaboration, which Zelensky enacted in mid-March. “In general, collaboration is defined as any purposeful act that harms the sovereignty and territorial integrity of our state,” Kravchenko said.
In practice, that can mean many things. The most obvious cases are those in which a person took up arms against Ukrainian forces or was involved in spying or sabotage to aid the Russian war effort. But assessing culpability can get murky at the level of local governance. “We’re looking for people who worked for the benefit of the Russian occupation,” Kravchenko told me. “But does that apply to a welder or carpenter who maintained buildings or equipment for the occupiers? Or people responsible for critical infrastructure?” There wasn’t an easy answer or policy, he said.
A further complication embedded in Ukraine’s law on collaboration is the question of motive. “Was a person moved to act out of personal belief or under the barrel of a gun?” Kravchenko said. “The first would be a crime, the second not.” In Izyum, government workers stopped receiving their Ukrainian salaries in March. Those who agreed to work for the Russian-backed administration often point to the unforgiving financial reality of occupation. “We have so many of these borderline situations, where it is hard for an investigator to prove not merely collaboration but criminal collaboration,” Kravchenko said. “It requires painstaking work.” He told me that it will likely take years for all the trials stemming from months of occupation to make their way through the courts. “But, believe me,” he added, “every case will be looked into. No one should sleep too comfortably.”
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Telegram, the messaging app created by Saint Petersburg native Pavel Durov, is said to be private and secure. So why does the Russian government seem to be able to read anything people share on it? At Wired, Darren Loucaides investigates.
Russians needed to consider the possibility that Telegram, the supposedly antiauthoritarian app cofounded by the mercurial Saint Petersburg native Pavel Durov, was now complying with the Kremlin’s legal requests.
Over the past year, numerous dissidents across Russia have found their Telegram accounts seemingly monitored or compromised. Hundreds have had their Telegram activity wielded against them in criminal cases. Perhaps most disturbingly, some activists have found their “secret chats”—Telegram’s purportedly ironclad, end-to-end encrypted feature—behaving strangely, in ways that suggest an unwelcome third party might be eavesdropping.
When Telegram emerged as one of the last remaining oases of information and discussion for Russians, it also became a kind of funnel for Kremlin agents. Agora’s Seleznev believes that Telegram’s API allows investigators to monitor public groups at a large scale and then zero in on potential suspects, who can subsequently be pursued into private channels by undercover agents—or perhaps via a court order to Telegram.
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The running industry is booming, and it seems like these days, running 26.2 miles is no big deal. The number of people running ultra-marathons has nearly quadrupled in the past decade, so for some competitors, even these longer-distance races aren’t challenging enough. For Experience, Brown reports on the rise of quirky and extreme running trends, and how some people, looking to stand out or do something different, find their niche. Beekeeper Farai Chinomwe runs backwards. Moshe Lederfien races while balancing a pineapple on his head. “The motives of these chain-smoking, backwards-moving, produce-aisle-masquerading runners are diverse,” writes Brown, “but weird running’s raisons d’ȇtre tend to exist at the intersection of personal growth and public spectacle.” This is a light and breezy read on how runners up their game and transform the act of running into something else entirely.
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