collection

Francis Ford Coppola wants an offer he can’t refuse — on his timepieces.

The Academy Award-winning director is selling seven watches from his personal collection, including his custom F.P. Journe FFC Prototype, estimated to sell for more than $1 million, according to a statement from Phillips, the New York City-based auction house. Phillips will hold the auction on Dec. 6 and 7.

The sale could help stanch losses from last year’s box-office flop “Megalopolis,” which cost over $120 million to make and was largely financed by the 86-year-old director. The movie grossed only $14.3 million worldwide.

The film, Coppola’s first since his 2011 horror movie “Twixt,” premiered at Cannes last year to largely negative reviews. The Times’ Joshua Rothkopf called it a “wildly ambitious, overstuffed city epic.”

At a news conference at Cannes, Coppola discussed the tremendous amount of his own money that he had sunk into the film, saying that he “never cared about money” and that his children “don’t need a fortune.”

Among the Coppola timepieces also going under the hammer are examples from Patek Philippe, Blancpain and IWC.

But the headlining piece is the F.P. Journe FFC Prototype that features a black titanium, human-like hand that resembles a steampunk gauntlet that articulates the hours when the fingers extend or retract.

Francis Ford Coppola’s custom F.P. Journe FFC timepiece uses a single hand to indicate all 12 hours.

(Phillips)

The watch was a collaboration between Coppola and master watchmaker François-Paul Journe that began following a conversation the pair had during a visit he made to the filmmaker’s Inglenook winery in Napa Valley in 2012.

Coppola asked Journe if a human hand had ever been used to mark time. That question sparked a years-long conversation during which the watchmaker grappled with how to indicate the 12 hours of the dial using just five fingers.

Journe found his inspiration in Ambroise Paré, a 16th century French barber surgeon and an innovator of prosthetic limbs in particular, including Le Petit Lorrain, a prosthetic hand made of iron and leather that featured hidden gears and springs enabling the fingers to move, not dissimilar to a watch mechanism.

“Speaking with Francis in 2012 and hearing his idea on the use of a human hand to indicate time inspired me to create a watch I never could have imagined myself. The challenge was formidable — exactly the type of watchmaking project I adore,” said Journe in a statement.

Journe eventually created six prototypes and delivered Coppola’s watch to him in 2021.

“I’m proud to fully support the sale of this watch through Phillips to fund the creation of his artistic masterpieces in filmmaking,” he said.

Coppola first became interested in the watchmaker when he gifted his wife Eleanor an F.P. Journe Chronomètre à Résonance in platinum with a white gold dial for Christmas in 2009, prompting the director to extend an invitation to Journe to visit him at his Napa winery.

Eleanor Coppola, a documentary filmmaker and writer, died in 2024 after 61 years of marriage. Her F.P. Journe timepiece is also part of the auction and is estimated to fetch between $120,000 to $240,000.

Fortunately for avid bibliophiles, Harper Lee was an inveterate pack rat. Born in rural Monroeville, Ala., in 1926, the author of “To Kill a Mockingbird” — whose first name is Nelle, her grandmother Ellen’s name spelled backward — spent much of her adult life in Manhattan after moving there in 1949.

First, she lived in a cold-water flat on the Upper East Side (subsisting on peanut butter sandwiches and meager bookstore and airline ticket agent salaries); then in a room in a Midtown hotel where Edith Wharton and Mark Twain once resided; a third-floor York Avenue walk-up ($20 a month for five years, where “Go Set a Watchman” and “To Kill a Mockingbird” were written); and, finally four decades at 433 E. 82nd St. There, amid “piles of her correspondence and practically every pay stub, telephone bill and canceled check ever issued to her, were notebooks and manuscripts” and eight previously unpublished early short stories and eight once-published essays and magazine articles. Those writings, discovered in her New York City apartment after she died in her Alabama hometown nine years ago, have been gathered into the welcome hybrid compendium “The Land of Sweet Forever.”

The short stories take up the first half of the collection, but it’s an unusual selection in the second half, “Essays and Miscellaneous Pieces,” that may reveal as much about the burgeoning author as the fictional juvenilia. In a contribution to “The Artists’ & Writers’ Cookbook” (1961), along with entries by Lillian Hellman, William Styron and Marianne Moore, Lee offered a one-page recipe for crackling bread, complete with the authorial observation, “some historians say by which alone fell the Confederacy.” The opening instruction is, “First, catch your pig.” After that, the ingredients (water-ground white meal, salt, baking powder, egg, milk) and directions might just as well function as an analogy for the process of writing and editing a manuscript.

In her introduction, Lee’s appointed biographer Casey Cep observes that it “takes enormous patience and unerring instincts to refine a scrap of story into something … keen and moving.” Lee admits to being “more of a rewriter than a writer.” In a 1950 letter to one of her sisters, she outlines her typical writing day, working through at least three drafts:

From around noon, work on the first draft. By dinnertime, I’ve usually put my idea down. I then stop for a sandwich or a full meal, depending on whether I’ve got to think more about the story or just finish it. After dinner, I work on a second draft, which involves sometimes tearing the story up and putting it together again in an entirely different way, or just keeping at it until everything is like I want it. Then I retype it on white paper, conforming to rules of manuscript preparation, and run out & mail it. That sounds simple, but sometimes I have worked through the night on one; usually I end up around two or three in the morning.

It’s all rather like testing, perfecting a recipe. If the product was these eight short stories, then “yes, chef” has baked a perfect loaf.

Each story illuminates Lee’s quintessential talents as the “balladeer of small-town culture” and the chronicler of city life. They display narrative skills, an acute ear for dialogue (especially the vernacular), development of fully rounded characters and vivid descriptions of settings. They also introduce subjects and significant themes — family, friendship, moral compass — that reappear in her nonfiction and novels.

Country life imposes restrictions on childhood characters in the first three stories. In “The Water Tank” anxious 12-year-old Abby Henderson, reacting to schoolyard rumors, believes she’s pregnant because she hugged a boy whose pants were unbuttoned. Anti-authoritarian first grader Dody (one of Harper’s nicknames) in “The Binoculars” is chastised for not tracing but writing her name on the blackboard. Early glimpses of “Mockingbird’s” Scout and Atticus Finch appear in the amusing “The Pinking Shears” when third grader “little Jean Louie” (without the later “s”) undermines gender rules when she whacks off a rambunctious minister’s daughter’s lengthy locks.

In New York City, where “sooner or later you meet everybody you ever knew on Fifth Avenue,” urban stress leads to a shocking monologue with an incendiary conclusion about feuding neighbors in “A Roomful of Kibble,” a frivolous kind of parlor game involving movie titles in “The Viewer and the Viewed,” and a humorous parking incident when one friend agrees to help another with lighting for a fashion show in “This Is Show Business?”

The closing title short story, “The Land of Sweet Forever,” adeptly merges locations and themes. It opens with a satirical nod to Jane Austen’s “Pride and Prejudice”: “It is a truth generally acknowledged by the citizens of Maycomb, Ala., that a single woman in possession of little else but a good knowledge of English social history must be in want of someone to talk to.” When adult Jean Louise (now with the “s”) leaves the city for home, she has a hilarious church encounter with someone she hadn’t seen since they were children, 21-year-old Talbert Wade, now with the taint of three years as an economics major at Northwestern University and a patina full of Europe, looking “suspiciously as if he had returned from a tour and had picked up a Brooks Brothers suit on the way home.” Together, they are trying to understand why the doxology, always sung “in one way and one way only” suddenly has been “pepped up” with an energetic organ accompaniment. Before it’s resolved there is an amusing anecdote about a cow obituary in verse and a concluding bow to Voltaire’s “Candide” when Jean Louise concedes that “all things happen for the best in this, the best of all possible worlds.” The story is a resounding example of Lee’s scintillating sense of wry humor.

Big themes of love, family and friendship recur in the eight previously published essays and articles (from 1961 to 2006) that appeared in Vogue, McCall’s, an American Film Institute program (about Gregory Peck), a Book of the Month Club newsletter (on the “little boy next door” Truman Capote and “In Cold Blood”), Alabama History and Heritage Festival, and O, the Oprah Magazine (a letter about the joy of learning to read). In addition to the crackling bread recipe that serves as a fingerpost to Lee’s writing process, the standout essay “Christmas to Me” details how she received a generous gift that changed her life, allowing her to become an accomplished, published writer. In 1956, best friends, lyricist-composer Michael Brown and his wife, Joy, surprised her with an envelope on the tree with a note, “You have one year off from your job to write whatever you please. Merry Christmas.” That meant $100 every month, covering more than five times her rent.

Juvenilia is tricky. It can be evanescent, exposing weaknesses or revealing strengths and talent. “The Land of Sweet Forever” reinforces Lee’s indelible voice, contributing a rewarding addition and resource to the slim canon of her literary legacy.

The recipe for crackling bread:

First, catch your pig. Then ship it to the abattoir nearest you. Bake what they send back. Remove the solid fat and throw the rest away. Fry fat, drain off liquid grease, and combine the residue (called “cracklings”) with:

1 ½ cups water-ground white meal
1 teaspoon salt
1 teaspoon baking powder
1 egg
1 cup milk

Bake in very hot oven until brown (about 15 minutes).

Result: one pan crackling bread serving 6. Total cost: about $250, depending upon size of pig. Some historians say by this recipe alone fell the Confederacy.

Papinchak, a former English professor, is a freelance book critic in Los Angeles. He has also contributed interviews to Bon Appetit.

Sept. 10 (UPI) — The U.S. Department of Labor’s Office of the Inspector General announced Wednesday that it will conduct a review of the Bureau of Labor Statistics’ collection and reporting activities for the Consumer Price Index and the Producer Price Index.

In a letter to the BLS’s acting director, William Wiatrowski, the OIG announced the intent to review the department.

“Our focus will be on the challenges and related mitigating strategies for (1) collecting PPI and CPI data, and (2) collecting and reporting, including revising, monthly employment data,” said the letter from Laura Nicolosi, assistant inspector general for audit.

The announcement arrives just weeks after President Donald Trump fired the BLS administrator Erika McEntarfer in August after a weak monthly jobs report. He has nominated conservative economist E.J. Antoni to replace her, but the nomination hasn’t yet been confirmed by the Senate.

The letter said that the BLS recently issued “a large downward revision of its estimate of new jobs in the monthly Employment Situation Report.”

The Labor Department in a preliminary report Tuesday revised jobs data sharply downward for the year ending March 2025 — a drop of 911,000 from initial estimates. The revisions were the largest in more than 20 years.

The BLS has long said that lower survey response rates and other trends have made it harder to measure the state of the U.S. economy, the New York Times reported. But experts inside and outside the agency say a lack of resources slows its efforts to mitigate those challenges.

SANTA MONICA, Calif. — Many fled when wildfires devastated Los Angeles earlier this year, but Guillermo del Toro rushed back in, determined to save his lifelong collection of horror memorabilia.

It’s the same loyalty that finds him making another tough decision to protect the items he loves like family: letting some of them go.

Del Toro partnered with Heritage Auctions for a three-part auction to sell a fraction of a collection that is bursting at the seams. Online bidding for the first part on Sept. 26 started Thursday and includes over a hundred items, with more headed to the auction block next year.

“This one hurts. The next one, I’m going to be bleeding,” Del Toro, 60, said of the auction series. “If you love somebody, you have estate planning, you know, and this is me estate planning for a family that has been with me since I was a kid.”

Del Toro is one of the industry’s most respected filmmakers, whose fascination with monsters and visual style will shape generations to come. But at his core, the Mexican-born horror buff is a collector. The Oscar winner has long doubled as the sole caretaker of the “Bleak House” — which stretches across two and a half Santa Monica homes nearly overflowing with thousands of ghoulish creatures, iconic comic drawings and paintings, books and movie props.

The houses function not just as museums, but as libraries and workspaces where his imagination bounces off the oxblood-painted walls.

“I love what I have because I live with it. I actually am a little nuts, because I say hi to some of the life-size figures when I turn on the light,” Del Toro told The Associated Press, sitting in the dining room of one of the houses, now a sanctuary for “Haunted Mansion” memorabilia. “This is curated. This is not a casual collection.”

The auction includes behind-the-scene drawings and one-of-a-kind props from Del Toro’s own classics, as well as iconic works like Bernie Wrightson’s illustrations for “Frankenstein” and Mike Mignola’s pinup artwork for “Hellraiser.”

A race to save horror history

In January, Del Toro had only a couple hours, his car and a few helping hands to save key pieces from the fires. Out of the over 5,000 items in his collection, he managed to move only about 120 objects. It wasn’t the first time, as fires had come dangerously close to Bleak House twice before.

The houses were spared, but fear consumed him. If a fire or earthquake swallowed them, he thought, “What came out of it? You collected insurance? And what happened to that little segment of Richard Corben’s life, or Jack Kirby’s craft, or Bernie Wrightson’s life?”

An auction, Del Toro said, gives him peace of mind, as it ensures the items will land in the hands of another collector who will protect the items as he has. These are not just props or trinkets, he said, but “historical artifacts. They’re pieces of audiovisual history for humanity.” And his life’s mission has been to protect as much of this history as he can.

“Look, this is in reaction to the fires. This is in reaction to loving this thing,” Del Toro told the AP.

The initial auction uncovers who Del Toro is as a collector, he said. Upcoming parts will expose how the filmmaker thinks, which he called a much more personal endeavor. The auction isn’t just a “piece of business,” for him, but rather a love letter to collectors everywhere, and encouragement to think beyond a movie and “learn to read and write film design in a different way. That’s my hope.”

A house full of ‘unruly kids’

Caring for the Bleak House collection feels like being on “a bus with 160 kids that are very unruly, and I’m driving for nine hours,” Del Toro said. “I gotta take a rest.”

The auction will give the filmmaker some breathing room from the collection’s arduous maintenance. The houses must stay at a certain temperature, without direct sunlight — all of which is monitored solely by Del Toro, who often spends most of his day there.

He selects the picture frame for every drawing, dusts all the artifacts and arranges every bookshelf mostly himself, having learned his lesson from the handful of times he allowed outside help. One time, Del Toro said, he found someone “cleaning an oil painting with Windex, and I almost had a heart attack.”

“It’s very hard to have someone come in and know why that trinket is important,” he said. “It’s sort of a very bubbled existence. But you know, that’s what you do with strange animals — you put them in small environments where they can survive. That’s me.”

Each room is organized by theme, with one room dedicated to each of his major works, from “Hellboy” to “Pacific Rim.” Del Toro typically spends his entire work day at one of the houses, which he picks depending on the task at hand. The “Haunted Mansion” dining room, for instance, is an excellent writing space.

“If I could, I would live in the Haunted Mansion,” he said. “So, this is the second best.”

Building a mini Bleak House

In selecting which items to sell, Del Toro said he “wanted somebody to be able to re-create a mini version of Bleak House.”

Auction items include concept sketches and props from Del Toro’s 1992 debut film, “Cronos,” all the way to his more recent works, like 2021’s “Nightmare Alley.”

The starting bids vary, from a couple thousand dollars up to hundreds of thousands. One of Wrightson’s drawings for a 1983 illustrated version of Mary Shelley’s “Frankenstein” is the highest priced item, starting at $200,000.

The auction also includes art from legends like Richard Corben, Jack Kirby and H.R. Giger, whose work Del Toro wrote in the catalog “represent the pinnacle of comic book art in the last quarter of the twentieth century.”

Other cultural touchstones in illustration that are represented in the auction include rare images from the 1914 short film “Gertie the Dinosaur,” one of the earliest animated films, and original art for Disney’s “Sleeping Beauty” by Eyvind Earle and Kay Nielsen.

“As collectors, you are basically keeping pieces of culture for generations to come. They’re not yours,” Del Toro said. “We don’t know which of the pieces you’re holding is going to be culturally significant … 100 years from now, 50 years from now. So that’s part of the weight.”

Luna writes for the Associated Press.

Helen Schulman is not afraid to make you squirm. Across her long and distinguished career as a novelist and short story writer, she has fearlessly explored the awkward collisions between our private and public selves, between what we present to the world and what we conceal from even our closest companions. Her 2011 best-selling novel “This Beautiful Life” dared to plunge headfirst into the shark-infested waters of the internet while most of us were still basking in the glow of the web’s shiny benevolence. “Fools For Love,” her latest collection of stories, finds Schulman’s characters weighing the past against the present, looking for redemption in the wrong places and occasionally coming up roses.

(Please note: The Times may earn a commission through links to Bookshop.org, whose fees support independent bookstores.)

✍️ Author Chat

Helen Schulman’s new story collection, “Fools For Love,” hits bookshelves this July.

(Knopf)

When it comes to ideas, what becomes a short story and what becomes a novel?

A lot of my ideas spring forward from something Henry James called the “germ” — the bit of overheated gossip, the newspaper article, an eavesdropped conversation on a public bus, a story told by other parents when you are both pushing toddlers on the swings in a playground, which injects itself into the writerly imagination and grows — often over large swaths of time. Sometimes these obsessions entangle, too. That’s what happened in [my story] “The Revisionist.” My husband had a college buddy over for dinner who told us this story about a friend of his who was walking home from work when a strange man ran into his own house and slammed the door in his face. Why? What? Who? The reality was somewhat pedestrian — the intruder was a drunken next-door neighbor, who I guess had overshot. But the anecdote stuck with me.

For some of your characters, the past is ever-present — they are fated to live with the sum of their choices, and it engenders a lot of regret. Can you speak to that?

My all-time favorite writer is William Faulkner. You must be familiar with his quote from the novel “Requiem for a Nun”: “The past is never dead. It’s not even past.” I sometimes feel this way about existence in general, like each and every moment in a lifetime is somehow equal, and that as one ages the moments accrue and tag along wherever one goes. Certainly in my own life I don’t sweat my big choices; I’m happy about them. I think a person does the best they can with what they know at the time. But I’m infinitely curious about what could have happened instead.

There is a lot of status anxiety in your work — not just financial status, but marriage, career — the things you think will align pleasingly in middle age but often don’t.

My husband and I are both working writers. The marriage works; the financial status has gone in and out. I’m not sure I always looked to middle age as a time of “pleasing alignment,” but I also didn’t think the world would be as effed up as it is now. Some of my characters get older and wiser; some are just more wrinkled, taller kids. But there is a lot of endurance over time in these stories — love, friendship, workplace passions. I would venture to say that most of my characters have real lives, and some very real satisfactions within the stresses that inevitably go along with them.

There are also secrets in your stories. Are we as sick as our secrets, or are they simply unavoidable?

Everyone has secrets. In “The Revisionist,” the protagonist even keeps secrets from himself. One of my closest friends, after the death of her parents, found out that one was married before and that the other had two other children with someone else. Now everyone is dead, and so we don’t even know if the spouses knew this about each other. There is nothing pedestrian about “ordinary lives.” We all roil and we all excite. I feel like one of my jobs as a fiction writer is to dive down beneath the surface.

In the story “My Best Friend,” there is a shocking act of violence. Why did you take it in that direction?

That story is about two men, one an up-and-coming-actor and the other a want-to-be novelist, who fall into a deep brotherhood while sleeping with the same woman. In fact, they each marry her — sequentially, of course. At some point, the friendship goes south; the protagonist, Jake, and Jeannie, the woman, have kids together and his career dries up. The first husband, Phil, becomes a very successful TV showrunner and producer. Out of pity, he hires Jake to be a character in one of his nighttime soaps. Jake starts to become an audience favorite, and Phil tortures the character on the series. All their pent up homoerotic attachments and jealousies explode in a “manly” brawl, which I see as tragicomedic, at the end of the story. The love story is theirs, after all.

Kurt Vonnegut has a quote about, when one reaches advanced middle age, life becomes an epilogue. That is a hard thing to carry. Do you feel that this is the case? I guess I’m thinking about your story “In a Better Place,” which revisits the characters from the book’s titular story in old age.

No, honestly I don’t. That story is really about the celebration of long love between the couple at the heart of the story, its healing powers and sustaining comforts. What may make this all feel epilogue-y to you (not a word, I know) is because these two people feel happy and fulfilled by their marriage. … My own artistic hope is to go as long as I can. I live to write!

📰 The Week(s) in Books

Charlie English spotlights the CIA’s use of literature to fight communism during the Cold War in his latest book.

(Angel City Press at the Los Angeles Public Library)

Valerie Castellanos Clark weighs in on Charlie English’s “The CIA Book Club,” about how Polish citizens fought Russian communism with books. “As with the best spy novels, we know the good guy is going to win … but how English gets us there is exciting,” Clark writes.

Melina Sempill Watts calls Josh Jackson’s book, “The Enduring Wild: A Journey Into California’s Public Lands” a timely book for a state that is in danger of losing its most precious public resource: “Jackson’s assertion that we are all landowners is a clarion call amid a GOP-led push to sell off public land.”

Leigh Haber raves on Amy Bloom’s latest novel “I’ll Be Right Here.” “As Bloom has demonstrated throughout her stellar literary career,” writes Haber, “she can train her eye on any person, place or object and render it sublime.”

Jim Ruland calls Megan Abbott’s latest thriller, “El Dorado Drive,” a novel for our present age of anxiety, propelled by Abbott’s masterful narrative drive and her skill at “rendering the hot, messy inner lives of young people.”

📖 Bookstore Faves

Ken Concepcion, owner of Now Serving, tells us what’s been flying off the shelves at his Chinatown bookstore that specializes in cookbooks.

(Shelby Moore / For The Times)

This week we are perusing the shelves at Now Serving, a cozy bookshop devoted to the culinary arts and located on the ground floor of Chinatown’s Far East Plaza. Co-owner Ken Concepcion gives us the scoop on the hot goods.

What books are selling right now?

“Umma,” “By Heart,” “Fat + Flour,” “Salsa Daddy” and “The Choi of Cooking.”

What food trend are customers excited about right now?

Being that we are in L.A., there has always been a demand for vegetarian and vegan titles. The interest in plant-based cookbooks that delve into specific cuisines such as Filipino, Vietnamese, Mexican and Japanese has definitely grown over the years, and the diversity of voices has been wonderful to see. There needs to be better representation for Ecuadorian, Guatemalan and other Central and South American cuisines as well — there is a real demand for it.

Why do you think cookbooks are still important, despite the ubiquity of recipes online?

As with anything that you can find online, recipes are no different. There are thousands upon thousands available. Most of them are copycat recipes. We think cookbooks are still unparalleled in that they can deliver a narrative, historical context and incredible imagery and stunning design in a world that is more reliant on technology than ever. Cookbooks at best are functional objects of art that can be then passed down from generation to generation. They can often become keepsakes, time capsules and family heirlooms.

BRA-VO to Helen Flanagan as she models lingerie for her debut underwear collection.

The former Coronation Street actress, 34, has launched the range with Nikki Intimates.

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Mum-of-three Helen said she loves modelling lingerie and plans to do it into her 60s.

She recently split with former non-league footballer Robbie Talbot, 45, after a year together.

The former Corrie star, 34, had claimed she wanted children with the ex-non-league footie star, 45.

But friends say the mum of three instead now wants to concentrate on her career and family.

A source said: “They want different things in life. She has just landed a new acting job and is trying to juggle work projects with the kids.

She sat him down two weeks ago and said, ‘This isn’t working’. It was a grown-up chat.

“She just wants to be on her own for a while although she still has feelings for him.”

Helen split from Scott Sinclair, dad of her three kids, in 2022.

She met divorced dad Robbie in a bar just as she was about to go on E4’s Celebs Go Dating.

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Over the last few years, politicians and conservative figures have consistently attacked the trans and non-binary community by spewing hateful rhetoric and introducing legislation targeting their rights or access to healthcare. From the 47th president of the United States issuing anti-trans executive orders to the UK Supreme Court’s ruling excluding trans women from the legal definition of womanhood, the conservative agenda has stopped at nothing to undermine the dignity, rights and existence of trans and non-binary people.

While the current political landscape is steadily chipping away at the community’s livelihoods and well-being, there are a handful of organisations fighting back against the rise of anti-trans hate, such as Mermaids.

For over 30 years, Mermaids has worked tirelessly to support trans and non-binary youth in the UK by offering life-saving services and resources. They have also used their platform to raise money for the community through special events, including Miles for Mermaids, and the sale of merchandise.

Recently, the charity teamed up with LGBTQIA+ activist and award-winning artist Joseph Harwood to create the ‘Don’t Be Mad, Be A Mermaid’ shirt. Blending mermaid fantasy with gripping street style, the bold, eye-catching design offers fashion enthusiasts and LGBTQIA+ advocates an opportunity to make an important statement in style.

We were able to chat with Joseph and the Mermaids crew about their powerful and iconic collaboration, creative process and more.

Congratulations on your recent merchandise collaboration. How did this Mermaids x Joseph Harwood partnership come to be?

Joseph: Firstly, I want to say how grateful I am to be chatting to Gay Times after being able to do makeup for many of the queens you’ve interviewed over the years. To reintroduce my work, I was one of the first trans people to brand themselves online, and I modelled my look and merchandise on the image of a mermaid. 

During my career, I faced a lot of discrimination and a lack of coverage when it came to my projects, most notably when I won a reality show with Simon Cowell called the You Generation in 2014. A lot of people remember Little Mix doing the accent challenge instead of [me] being the first trans person to accomplish that milestone [of winning You Generation], and that really isn’t cool when my work has been so widely repeated. The artist that created celebrity transformation tutorials and gender transformation tutorials was a trans person – and we consistently see cultural erasure when it comes to telling trans people’s stories to a wider audience. I wanted to give back after building such a successful career for myself and Mermaids was the perfect alignment. 

Can you take us through the creative process? What were some of the initial ideas you all explored at the start of this partnership?

Joseph: The original story of a mermaid was told to me from an older person’s perspective, and they said the narrative was similar to a gay person falling in love with a straight person, and being unable to share their authenticity. I think there’s something in that, and the original tale is a bit darker than the Disney movie. I was playing with imagery and did a look with long pink hair.

I shared the visuals, and everyone told me they saw it as a mermaid. It basically blew up on Facebook and was shared tens of thousands of times repeatedly, it was a magical moment because it became a virally shared image without a negative connotation. I said to Mermaids, ‘You’ve gotta do something with this as I own the picture, and it’ll be a fab concept to support back!’ 

For the final product, the ‘Don’t Mad, Be a Mermaid’ t-shirt/sleeveless shirt was born. Was there anything in particular that inspired this bold and eye-catching design?

Joseph: I think people are getting so mad when discussing the trans community because there has been this social compression since the pandemic, when everyone was stuck in the house. People were joining TikTok and other social media, and probably for the first time, seeing a world of people they had absolutely no opinion about before. The other ingredient is the exploitation of unresolved trauma by public figures, who have been conjuring up a figure of a Boogie-Man specifically about trans women. The outcome of that is people then start to believe that there is a potential risk if we co-exist. To me, that is not only maddening but completely irresponsible. The outcome is this recent change in law. We’re smart people and we need to look at evidence on a wider scale with multiple examples before we start creating pandemonium. To have people grab me when I’m walking into a venue and quiz me about my use of bathrooms is really mad, when women’s rights to body autonomy are being eroded on a global scale. So do not be mad, be a mermaid! 

NEW YORK — Christine Farro has cut back on the presents she sends her grandchildren on their birthdays, and she’s put off taking two cats and a dog for their shots. All her clothes come from thrift stores and most of her vegetables come from her garden. At 73, she has cut her costs as much as she can to live on a tight budget.

But it’s about to get far tighter.

As the Trump administration resumes collections on defaulted student loans, a surprising population has been caught in the crosshairs: hundreds of thousands of older Americans whose decades-old debts now put them at risk of having their Social Security checks garnished.

“I worked ridiculous hours. I worked weekends and nights. But I could never pay it off,” says Farro, a retired child welfare worker in Santa Ynez, Calif.

Like millions of debtors with federal student loans, Farro had her payments and interest paused by the government five years ago when the pandemic thrust many into financial hardship. That grace period ended in 2023 and, earlier this month, the Department of Education said it would restart “involuntary collections” by garnishing paychecks, tax refunds and Social Security retirement and disability benefits. Farro previously had her Social Security garnished and expects it to restart.

Farro’s loans date back 40 years. She was a single mother when she got a bachelor’s degree in developmental psychology and when she discovered she couldn’t earn enough to pay off her loans, she went back to school and got a master’s degree. Her salary never caught up. Things only got worse.

Around 2008, when she consolidated her loans, she was paying $1,000 a month, but years of missed payments and piled-on interest meant she was barely putting a dent in a bill that had ballooned to $250,000. When she sought help to resolve her debt, she says the loan company had just one suggestion.

“They said, ‘Move to a cheaper state,’” says Farro, who rents a 400-square-foot casita from a friend. “I realized I was living in a different reality than they were.”

Student loan debt among older people has grown at a staggering rate, in part due to rising tuitions that have forced more people to borrow greater sums. People 60 and older hold an estimated $125 billion in student loans, according to the National Consumer Law Center, a six-fold increase from 20 years ago.

That has led Social Security beneficiaries who have had their payments garnished to balloon by 3,000% — from approximately 6,200 beneficiaries to 192,300 — between 2001 and 2019, according to the Consumer Financial Protection Bureau.

This year, an estimated 452,000 people aged 62 and older had student loans in default and are likely to experience the Department of Education’s renewed forced collections, according to the January report from CFPB.

Debbie McIntyre, a 62-year-old adult education teacher in Georgetown, Ky., is among them. She dreams of retiring and writing more historical fiction, and of boarding a plane for the first time since high school. But her husband has been out of work on disability for two decades and they’ve used credit cards to get by on his meager benefits and her paycheck. Their rent will be hiked $300 when their lease renews. McIntyre doesn’t know what to do if her paycheck is garnished.

She floats the idea of bankruptcy, but that won’t automatically clear her loans, which are held to a different standard than other debt. She figures if she picks up extra jobs babysitting or tutoring, she could put $50 toward her loans here and there. But she sees no real solution.

“I don’t know what more I can do,” says McIntyre, who is too afraid to check what her loan balance is. “I’ll never get out of this hole.”

Braxton Brewington of the Debt Collective debtors union says it’s striking how many older people dial into the organization’s calls and attend its protests. Many of them, he says, should have had their debts canceled but fell victim to a system “riddled with flaws and illegalities and flukes.” Many whose educations have left them in late-life debt have, in fact, paid back the principal on their loans, sometimes several times over, but still owe more due to interest and fees.

For those who are subject to garnishment, Brewington says, the results can be devastating.

“We hear from people who skip meals. We know people who dilute their medication or cut their pills in half. People take drastic measures like pulling all their savings out or dissolving their 401ks,” he says. “We know folks that have been driven into homelessness.”

Collections on defaulted loans may have restarted no matter who was president, though the Biden administration had sought to limit the amount of income that could be garnished. Federal law protects just $750 of Social Security benefits from garnishment, an amount that would put a debtor far below the poverty line.

“We’re basically providing people with federal benefits with one hand and taking them away with another,” says Sarah Sattelmeyer of the New America think tank.

Linda Hilton, a 76-year-old retired office worker from Apache Junction, Ariz., went through garnishment before COVID and says she will survive it again. But flights to see her children, occasional meals at a restaurant and other pleasures of retired life may disappear.

“It’s going to mean restrictions,” says Hilton. “There won’t be any travel. There won’t be any frills.”

Some debtors have already received notice about collections. Many more are living in fear. President Trump has signed an executive order calling for the Department of Education’s dismantling and, for those seeking answers about their loans, mass layoffs have complicated getting calls answered.

While Education Secretary Linda McMahon says restarting collections is a necessary step for debtors “both for the sake of their own financial health and our nation’s economic outlook,” even some of Trump’s most fervent supporters are questioning a move that will make their lives harder.

Randall Countryman, 55, of Bonita, Calif., says a Biden administration proposal to forgive some student debt didn’t strike him as fair, but he’s not sure Trump’s approach is either. He supported Trump but wishes the government made case-by-case decisions on debtors. Countryman thinks Americans don’t realize how many older people are affected by policies on student loans, often thought to be the turf of the young, and how difficult it can be for them to repay.

“What’s a young person’s problem today,” he says, “is an old person’s problem tomorrow.”

Countryman started working on a degree while in prison, then continued it at the University of Phoenix when he was released. He started growing nervous as he racked up loan debt and never finished his degree. He’s worked a host of different jobs, but finding work has often been complicated by his criminal record.

He lives off his wife’s Social Security check and the kindness of his mother-in-law. He doesn’t know how they’d get by if the government demands repayment.

“I kind of wish I never went to school in the first place,” he says.

Sedensky writes for the Associated Press.