Aglaia Kremezi

Technically, the next attempt to overthrow a national election may not qualify as a coup. It will rely on subversion more than violence, although each will have its place. If the plot succeeds, the ballots cast by American voters will not decide the presidency in 2024. Thousands of votes will be thrown away, or millions, to produce the required effect. The winner will be declared the loser. The loser will be certified president-elect.

The prospect of this democratic collapse is not remote. People with the motive to make it happen are manufacturing the means. Given the opportunity, they will act. They are acting already.

Who or what will safeguard our constitutional order is not apparent today. It is not even apparent who will try. Democrats, big and small D, are not behaving as if they believe the threat is real. Some of them, including President Joe Biden, have taken passing rhetorical notice, but their attention wanders. They are making a grievous mistake.

This past spring, if someone told you that they were fully vaccinated, you knew precisely what they meant: At least two weeks before, they’d received two doses of the Moderna COVID-19 vaccine, two doses of Pfizer, or one dose of Johnson & Johnson.

Now what it means to be vaccinated encompasses much more variety. Some people who have gotten their initial doses haven’t gotten a booster dose, and some people mixed and matched the brands of their first shots and their booster. What’s more, everyone is on their own personal timeline, depending on when they got their shots. Amid this complexity, kids under 5 still aren’t eligible for any shots at all.

As the weather gets colder in much of the country and people bring more of their socializing indoors, this variety of vaccination histories introduces questions Americans didn’t previously have to deal with. Is it still safe to hang out with someone who is vaccinated but not boosted? Can unvaccinated little kids safely spend time with unboosted adults? And will the new coronavirus variant, Omicron, further complicate the risk calculus of an already complicated winter?

This article contains spoilers through the eighth episode of Succession Season 3.

What’s clear by now is that the Roys need to stay away from water. Every late-in-the-season tragedy and act of bloodshed, whether real or intangible, has been tied to the element that classically represents femininity, emotion, and intuition. These are not, of course, qualities that you’d associate with the Roys, and yet balance will have its way in the end.

Tonight’s episode, “Chiantishire,” named for the unfortunate moniker upper-class Brits give the region of Tuscany, ended with Kendall Roy (played by Jeremy Strong) lying facedown in an infinity pool in the Italian countryside. It was a climactic and devastating end to an episode chock-full of emotional violence, but also one that seems fated to be an installment on the upcoming podcast being made about the “curse of the Roys.” The news of that show, delivered casually by Kendall’s PR flack Comfrey (Dasha Nekrasova), added yet more anguish to Kendall’s buffet of psychological slights. First, his mother, Lady Caroline (Harriet Walter), made fun of his buzz cut. Then she asked him to back out of certain events at her wedding so his more powerful father could attend. Finally, Logan (Brian Cox) taunted Kendall over an uneaten dinner, refusing to agree to buy him out of Waystar Royco, and reminding him that his addictions had led to a young man’s death at the wedding of his sister, Shiv (Sarah Snook). “Whenever you fucked up, I cleaned up your shit,” Logan said. “And I’m a bad person? Fuck off, kiddo.”

At the bleakest moment in the pandemic, when you felt your most stressed, most scared, least centered, you probably heard some variation of the phrase This is really hard. Maybe you read it; maybe your manager said it to you; maybe you said it to yourself. But that’s the truth: Our nearly two years of living through a pandemic have been hard. And like everything else in the United States, that difficulty has not been evenly distributed. It has been hardest for those on the front lines, those afraid of how customers will react to their requests to put on a mask, those out of work or in constant fear of the way COVID variants are whipping through their community. It has been hard, in different ways, for those attempting to work and supervise school from home, for those in complete isolation, for those terrified of being around other people. It is fucking hard, in so many intersecting and unfair ways.

In the public-health world, the rise of Omicron prompted a great, big “I told you so.” Since the new variant was detected in South Africa, advocacy groups, the WHO, and global-health experts have said the new variant was a predictable consequence of vaccine inequity. Rich countries are hoarding vaccine doses, they said, leaving much of the developing world under-vaccinated. But in reality, countries with low vaccination rates are suffering from more than just inequity.

South Africa, the country where the variant was first reported, did receive vaccines far too late, partly because wealthy countries did not donate enough doses and pharmaceutical companies refused to share their technology. At one point, South Africa had to export doses of the Johnson & Johnson vaccine that it had manufactured in-country in order to comply with a contract it had signed with the company. The COVID-19 vaccines must be kept cold, and because not everywhere in South Africa has reliable roads and refrigeration, the country has struggled to store and transport vaccine doses to far-flung areas.

A year after the insurrection, I’m trying to imagine the death of American democracy. It’s somehow easier to picture the Earth blasted and bleached by global warming, or the human brain overtaken by the tyranny of artificial intelligence, than to foresee the end of our 250-year experiment in self-government.

The usual scenarios are unconvincing. The country is not going to split into two hostile sections and fight a war of secession. No dictator will send his secret police to round up dissidents in the dead of night. Analogies like these bring the comfort of at least being familiar. Nothing has aided Donald Trump more than Americans’ failure of imagination. It’s essential to picture an unprecedented future so that what may seem impossible doesn’t become inevitable.

In October of 1860, The Atlantic’s first editor, James Russell Lowell, wrote of Abraham Lincoln that he “had experience enough in public affairs to make him a statesman, and not enough to make him a politician.” Lowell, in his endorsement, was mainly concerned not with Lincoln’s personal qualities but with the redemptive possibilities of his new party. The Republicans, Lowell wrote, “know that true policy is gradual in its advances, that it is conditional and not absolute, that it must deal with facts and not with sentiments.”

There is insufficient space in any one issue of this magazine to trace the Republican Party’s decomposition from Lincoln’s day to ours. It is enough to say that its most recent, and most catastrophic, turn—toward authoritarianism, nativism, and conspiracism—threatens the republic that it was founded to save.

Mikey Saber, the preening, confident chump who’s the ostensible hero of Sean Baker’s new film, Red Rocket, enters on-screen to a loud and familiar tune: “Bye Bye Bye,” by *NSync. The song is a piece of mainstream pop from yesteryear (it’s a shiver-inducing 21 years old), and its usage in this arty indie film seems laced with irony. Baker knows, though, that for all its non-subtlety, “Bye Bye Bye” is still as catchy as it was the day of its release, and he uses it to suggest the same of Mikey (played by Simon Rex): He’s his own kind of relic, rolling back into his hometown after a failed career in Los Angeles, but he’s still got a glint of charm to him.

Baker has always told small-scale stories set on the margins of America—2015’s Tangerine was a bittersweet Christmas tale about trans sex workers, and 2017’s The Florida Project was about “hidden homeless” families living in a motel. Both of those films were empathetic works about people enduring incredibly challenging circumstances—Baker, who often casts first-time actors in his work, is a master of displaying unvarnished truth on-screen. Red Rocket is far more sour than sweet, but that’s part of the point; Mikey is a reprehensible fellow, but he’s clawed his way through life by sheer force of will, and as such, the camera simply can’t look away.

Every day, as dawn’s rosy fingers reach through my window, I arise and check in with Twitter, to see what fresh hell awaits. Generally, by about 6:30, I’ve been made furious by the outrage du jour. But recently, I experienced more of a sense of bemusement than ire, as I took in Deadline’s headline: “Mel Gibson in Talks to Direct Lethal Weapon 5.”

Gibson is a well-known Jew-hater (anti-Semite is too mild). His prejudices are well documented. So my question is, what does a guy have to do these days to get put on Hollywood’s no-fly list? I’m a character actor. I tend to take the jobs that come my way. But—and this hurts to write—you couldn’t pay me enough to work with Mel Gibson.

Now, I love the Lethal Weapon movies (at least the first few). And Danny Glover’s a gem. But Gibson? Yes, he’s a talented man. Many horrible people produce wonderful art. Put me down as an ardent fan of Roald Dahl, Pablo Picasso, and Edith Wharton; can’t get enough of what they’re selling. But these three had the good taste to die. That makes it a lot easier to enjoy their output. Gibson lives. And Tinseltown need not employ him further.

No one knows exactly what endemic COVID will look like, but whatever it looks like, this—gestures at the current situation—ain’t it. COVID is not yet endemic. There is little doubt that the coronavirus will get there eventually, when almost everyone has been vaccinated or infected or both, but right now we are still living through a messy and potentially volatile transition period. Cases are ticking up again. A new variant is afoot. The challenge ahead is figuring out how to manage the transition to endemicity, however long it takes.

COVID is not yet endemic because too many people still lack any immunity from either vaccination or infection, here in the United States and globally. Europe is a cautionary tale in this regard: Countries such as Germany and Austria that have slightly better vaccination coverage than the U.S.—68 percent and 66 percent, respectively, compared with 60 percent here—are nevertheless seeing their cases and hospitalizations soar in yet another wave. Even with most people vaccinated, there isn’t enough immunity to blunt big and fast surges of Delta. Just 15 percent of the population without immunity is still a huge absolute number in a country with millions of people, says Lloyd Chapman, an infectious-disease modeler at the London School of Hygiene and Tropical Medicine. Chapman and his colleagues have estimated the number of unvaccinated and unexposed people who could still be hospitalized for COVID in Europe based on each country’s age structure. (He is planning to do a similar analysis for the U.S.) “The main headline point would be that,” he says, “there’s still a long way to go.” And that was before Omicron. The new variant could be even better at evading previous immunity than Delta, and its spread might push endemicity further off into the future.