Well, Sam, one of the things that I also was interested in is the kind of politics of this era.

I'm always drawn to these stories where it's taking place in the 90s, right?

In the end of history era.

And I thought it's so interesting that even editorially, I mean, this is not a critical comment,

but one of the things Andrew Sullivan did, when Andrew became the editor, you know,

the New Republic became cooler, hipper in a way.

You know, they were publishing Camille Paglia.

As parents puts it in his memoir, Andrew had made us hip, really made us a part of popular

culture in a way we hadn't been before.

Young people read us and were inspired.

So there's something really

interesting about the grand ideological battle of the Cold War being over. You know, magazines,

this is the 90s, kind of before the internet ruined everything. And you could become famous,

as we were talking about Tucker Carlson, right? Being a magazine writer was a different kind of

form of validation and

prestige and status than it is now. And, you know, the grand ideological battles over Clinton's

president, like, what were the stakes in political writing? Making up fabulous lies like this,

it seems kind of fitting for the moment. Well, because it doesn't actually seem that important.

Yeah, in grand ideological, political terms.

And I think something that's interesting if you look at all the stories that Stephen Glass

officially made up, you see something really interesting, which is that he seems to have

had an instinct to do one that pricked the ideological sensibilities, the left, and one that pricked them of the right and kind of go back and forth.

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