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      These Modern Homesteaders Live Off the Grid, but They’re Extremely Online

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      In corners of the internet — and in wooded, undeveloped parts of the country — young men are documenting their efforts to to live off the land.Nate Petroski’s address doesn’t help visitors find his house. Locating it, instead, requires specific GPS coordinates to a spot deep in West Virginia’s Appalachian Mountains, and precise instructions on how to get there. Many of the surrounding roads are impassable without an ATV to traverse several creeks and muddy inclines.It’s much easier to visit him online.Mr. Petroski, 39, is a prominent video creator in the modern-day homesteading movement, determined to live a life of semi-self-sufficiency “off grid,” or disconnected from the power, water, gas and telecommunications lines that connect most residential addresses in the United States. But rather than embracing the reclusive life often associated with off-grid homesteaders in rural areas, Mr. Petroski is extremely prolific online, broadcasting his daily life to millions of followers on social media.His property, known as NarroWay Homestead, is one of the most sophisticated and most-watched operations in a burgeoning niche of online creators who document their off-grid or sustainable living projects across the country, often promoting a way of life that seems diametrically opposed to the mediums they use to share it.“Almost everything I own is a hybrid of ancient knowledge and modern technology,” Mr. Petroski said. His water, he explained, comes from rainwater that runs off his roof into a self-filtering pipe and tank system — and is then pumped throughout his buildings with solar-powered electric pumps.One afternoon in July, Mr. Petroski and his wife, Jen, filmed a video for TikTok, which helps them support their homesteading lifestyle.Kristian Thacker for The New York TimesMr. Petroski’s video recording setup.Kristian Thacker for The New York TimesThe plaque Mr. Petroski received from YouTube when he reached one million subscribers.Kristian Thacker for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in US Politics

      So Donald chatted with Elon, and here’s the future as they see it – losers win, incompetence rules | Marina Hyde

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      Would you like to travel in the advance party to Mars, aboard the space rocket of a man who can’t sort a livestream? Ideally you would have to get in line for this species-level honour behind thousands of Earth’s leading shitposters, who not only trust implicitly in X owner Elon Musk, but truly believe that if they grind away for hours a day telling him that on his platform, one day he will see one of those posts. I hope he does, guys!In the meantime, my favourite recent headline on this interplanetary settlement programme ran “Elon Musk denies his sperm will seed Mars colony”. Sure. It’s just a hunch, but I feel like they’re going to have way more sperm than they need up there. It’s the other bit necessary for human life that you sense will be in shorter supply.Anyway, from the future of the red mist planet to the future of political discourse: Monday night’s conversation between Musk and Donald Trump on X (audio only, only almost an hour late, and only for massively fewer live listeners than advance estimates suggested). It was so dysfunctional that even Trump’s dentures were trying to escape. Hours after it had taken place, Musk issued an intriguing APB: “Anyone have a More

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      X Spaces With Trump and Musk Is Off to a Glitchy Start

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      Elon Musk’s live conversation with former president Donald J. Trump on X got off to a glitchy start on Monday, a setback for the social media service as Mr. Musk pushes the company to regain its dominance as an online epicenter of political discourse.Some users who tried to listen to the conversation, which was hosted on the company’s audio livestreaming feature called Spaces, were greeted by silence and an error message that read: “Details not available.” Users said they had trouble accessing the livestream on desktop computers and mobile phones. Those who were able to get the livestream to work were met with hold music. The Spaces event was originally scheduled to start at 8 p.m. Eastern. The number of attendees fluctuated wildly as users struggled to gain access, drifting between 100,000 and more than 700,000 listeners. Mr. Musk blamed a cyberattack known as a distributed denial of service attack, or DDoS, for the glitches. DDoS attacks work by flooding servers with malicious traffic and knocking them offline. “Worst case, we will proceed with a smaller number of live listeners and post the conversation later,” he wrote. The attack could not immediately be verified.Mr. Musk claimed the system had been tested “with 8 million concurrent listeners” earlier that day.He had spent Sunday evening testing the service to make sure it could stay up and running by streaming himself playing a video game. We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Elections

      Biden Made Trump Bigger. Harris Makes Him Smaller.

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      Kamala Harris has a very different theory of this election than Joe Biden did.In 2020, and then again in 2024, Biden ceded the battle for attention to Donald Trump. Whether as a matter of strategy or as a result of Biden’s own limitations, Biden adopted a low-key campaigning style, letting Trump dominate news cycle after news cycle. Trump wanted the election to be about Donald Trump, and Joe Biden wanted the election to be about Donald Trump. On that much, they agreed.In 2020, when Trump was the unpopular incumbent, that strategy worked for Biden. In 2024, when Biden was the unpopular incumbent, it was failing him. It was failing in part because Biden no longer had the communication skills to foreground Trump’s sins and malignancies. It was failing in part because some voters had grown nostalgic for the Trump-era economy. It was failing in part because Biden’s age and stumbles kept turning attention back to Biden and his fitness for office, rather than keeping it on Trump and Trump’s fitness for office.Then came the debate, and Biden’s decision to step aside, and Harris’s ascent as the Democratic nominee. Harris has been able to do what Biden could or would not: fight — and win — the battle for attention. She had help, to be sure. Online meme-makers who found viral gold in an anecdote about coconuts. Charli XCX’s “kamala IS brat.”But much of it is strategy and talent. Harris holds the camera like no politician since Barack Obama. And while Harris’s campaign is largely composed of Biden’s staffers, the tenor has changed. Gone is the grave, stentorian tone of Biden’s news releases. Harris’s communications are playful, mocking, confident, even mean. Trump is “old” and “feeble”; JD Vance is “creepy.” Her campaign wants to be talked about and knows how to get people talking. It is trying to do something Democrats have treated as beneath them for years: win news cycles.Biden’s communications strategy was designed to make Trump bigger. Harris’s strategy is to make him smaller. “These guys are just weird,” Tim Walz said on “Morning Joe,” and it stuck. Walz inverted the way Democrats talked about Trump. Don’t make a strongman look stronger. Make him look weaker. Biden’s argument was that Trump might end American democracy. Walz’s argument is that Trump might ruin Thanksgiving.There are many reasons Walz was chosen as Harris’s running mate, not least the chemistry between the candidates. But he was on the shortlist in the first place because he proved himself able to do what Harris wanted done: Get people talking about the thing he wanted them talking about.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘It Ends With Us’ Soars at the Box Office

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      The film, which cost $25 million to make, is on track to earn at least $45 million in North America on its opening weekend, analysts say.Colleen Hoover’s book “It Ends With Us” has been a fixture on the best-seller list for years. And now, the movie adaptation has become a smash at the box office. The $25 million film from Sony Pictures is on track to earn at least $45 million in the United States and Canada, box office analysts say.Starring Blake Lively, the romance is based on Ms. Hoover’s most popular book — one that was initially released in 2016 but reappeared on the best-seller list in the midst of the pandemic in 2021 and has since spent some 140 weeks there. Buoyed by TikTok, the book, about a complicated love triangle with undertones of domestic violence, has sold 8 million copies and found fans worldwide.The low-budget film comes at a time when there has been little in the marketplace geared to women, in contrast with last summer when “Barbie” earned $1.4 billion worldwide and became the highest-grossing film of the year. Sony took advantage of this dearth in the marketplace with a potent social media campaign that featured Ms. Lively, guest appearances by her husband, Ryan Reynolds, and the help of her friend Taylor Swift, who contributed the song “My Tears Ricochet” to the film and the trailer.On Friday alone, the PG-13 rated film earned $24 million as audiences tuned in to see Ms. Lively play a florist with a challenging past who falls for a sexy, abusive neurosurgeon played by Justin Baldoni, who also directed the film.The film’s performance is a welcome boost for the box office, which is still down some 15 percent since last year at this time.“Pure romance is not a big performer at the box office, but occasionally the right story based on the right book comes along, and with a well-cast female lead the movie catches fire,” said David A. Gross, a film consultant who publishes a newsletter on box office numbers. “That’s happening here.”Reviews have been middling. The New York Times called it “fitfully diverting, at times touching, often ridiculous and, at 2 hours and 10 minutes, almost offensively long.” Yet audiences are giving it high marks. The Rotten Tomatoes audience score is hovering at 94 percent positive and the exit score, as recorded by tracking service CinemaScore, is A-.The film will just miss the No. 1 slot for the weekend with Mr. Reynolds’s hit, “Deadpool vs. Wolverine,” holding on for its third frame. The Marvel movie will soon cross the $500 million threshold.Things weren’t as rosy for the Lionsgate adaptation of the video game “Borderlands,” which despite the star power of Cate Blanchett, Kevin Hart and Jack Black will probably only gross in the single digits. It was a total misfire for the $115 million sci-fi comedy from the director Eli Roth. More

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      The Social Media Olympics

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      More lenient posting rules for Olympic athletes have helped spark a deluge of successful social media content. Some say that’s changing how we watch the Games.Just moments after the American wrestler Sarah Hildebrandt won a gold medal at the Paris Games, she let the whole world know what she was thinking:“Oh my gosh I just won the FREAKING OLYMPICS hahahahah DUUUUDE,” she wrote on social media from the event venue.The post may seem like something athletes always do. But at the Olympics, it’s part of a new twist — and one of the keys to returning to the sense of a shared national experience that defined the Games of yesteryear.For the last decade or more, it has seemed like the Olympics have struggled to capture relevance the way they did a generation ago. Blame was assigned to a fracturing media landscape and a long string of asterisks (pandemic restrictions in Tokyo, time zone issues in Beijing, a Zika outbreak in Rio de Janeiro, geopolitical tensions in Sochi).But the reason may have been simpler: The Olympics has largely been missing from social media. The closely guarded intellectual property of “the Olympic rings” meant video from the Games was posted only in limited ways, with broadcasters worried that they would run afoul of strict rules or anxious that they would cannibalize their own broadcasts.New, more lenient social media rules for athletes announced ahead of the Paris Games and a rethink among broadcasters — as well as the ability of social media companies to geofence certain content — appear to have changed virtually everything.And audiences are cheering.Athletes can now “create personalities just like any influencer would,” said Apolo Ohno, the eight-time Olympic medalist in short-track speedskating. “It’s unlike anything before.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      UK Riots and How Online Hatred Spurs Real-World Violence

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      On New Year’s Day, a Telegram user in Portugal posted an ominous message that the wait was over. This was the year to stop the “Population Replacement” — a conspiracy theory that immigrants of color are taking over. In the days and weeks that followed, thousands more posts like it appeared on Telegram, X, YouTube […] More