David Moye
David Moye is a senior reporter at HuffPost who treats strange news, fringe politics and business scandals as serious stories, letting their own absurdity do the work. His coverage sits at the intersection of weird news, cultural spectacle and political excess, with occasional forays into markets and money when behavior around them turns questionable. He brings more than two decades of experience writing offbeat stories, which gives his work a steady, unflustered tone even when the subject matter is surreal.
Weird news and everyday absurdity
Moye’s defining beat is weird news, and he treats it as a daily desk rather than an occasional novelty. Earlier work highlights a long-running interest in unusual behavior and odd events, from a woman pulled over for breastfeeding on a moped to an internet-famous cat recognized as the “world’s hairiest,” or a sheriff’s lieutenant reprimanded for firing a gun to stop a pooping turkey.
Those stories show how he zeroes in on specific incidents and documents them with straightforward reporting, avoiding mockery while allowing the facts to make the point. More recent pieces such as “Taylor Swift Is Now A Bug” apply the same approach to global pop phenomena, framing a bizarre premise in plain language and explaining why it matters beyond the joke.
Across these pieces, he tends to use short, clear headlines built around a single surprising idea, then unpack that idea with basic context, quotes and a matter‑of‑fact description of the scene.
Politics and extremism on the margins
Alongside oddball human-interest stories, Moye regularly covers politics when it veers into the extreme or transgressive. In a recent article on a state Libertarian Party’s statement endorsing the assassination of elected Democrats, he focuses on the language of the statement and the shock value of a political organization flirting with violence, rather than on legislative detail.
Other political coverage includes a piece noting Donald Trump, barely 100 days into a second term in office, floating interest in another job, which he treats as a story about ambition and spectacle as much as governance.
He also writes about faith‑based political messaging, such as the “Evangelicals For Harris” ad that denounces Trump as a false prophet, pulling out the religious rhetoric and its implications for campaign strategy. The through-line in these stories is his attention to words, symbols and stunts that push democratic norms, presented in the same flat, newsy tone he uses for weird news so that the extremism stands out on its own.
Pop culture and entertainment oddities
Moye’s cultural coverage focuses on entertainment stories with an offbeat twist or reputational stakes.
In the Taylor Swift piece, he uses a deliberately outlandish headline to signal that the story is about transformation and fandom, then grounds it in the practical details of how and why Swift is being reimagined as a “bug.” His reporting on the film “Emilia Pérez” and director Jacques Audiard’s response to racist tweets by star Karla Sofía Gascón centers on the tension between creative work and public controversy, documenting the director’s language and the consequences for the project. Across these articles, he treats pop culture as a serious beat with political and social dimensions, using celebrity stories to explore questions of identity, accountability and the line between performance and reality.
The tone remains consistent with his weird news work: clipped, factual and focused on what people did and said, rather than on his own commentary.
Business, markets and ethical lapses
On business, Moye tends to cover stories where finance intersects with ethics, spectacle or power, rather than day‑to‑day market moves. One example is his article capturing Jim Cramer’s on‑air reaction to Donald Trump’s sketchy stock trades, where the focus is on the television personality’s response and what it reveals about concerns around presidential dealings in the market. He treats that segment as a business story and a political ethics story at the same time, highlighting the discomfort and incredulity around trading behavior rather than analyzing technical market data.
This fits with his broader approach: he steps into business coverage when money is being used in ways that raise questions of fairness, propriety or self‑dealing, and he reports those moments with the same straight, slightly incredulous framing he brings to his weird news and fringe politics beats.
Across these areas, Moye describes himself as a senior reporter specializing in weird news, with a deep interest in offbeat subjects and unconventional angles. His body of work shows a consistent preference for stories that reveal the strange edges of public life - whether in everyday behavior, partisan rhetoric, celebrity culture or the way powerful people treat markets - and he writes them in plain prose that underscores how unusual they are without needing embellishment.
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