Erik Tarloff

For many fully vaccinated Americans, the Delta surge spoiled what should’ve been a glorious summer. Those who had cast their masks aside months ago were asked to dust them off. Many are still taking no chances. Some have even returned to all the same precautions they took before getting their shots, including avoiding the company of other fully vaccinated people.

Among this last group, a common refrain I’ve heard to justify their renewed vigilance is that “vaccinated people are just as likely to spread the coronavirus.”

This misunderstanding, born out of confusing statements from public-health authorities and misleading media headlines, is a shame. It is resulting in unnecessary fear among vaccinated people, all the while undermining the public’s understanding of the importance—and effectiveness—of getting vaccinated.

Conspiracy theorists who discount the safety and efficacy of COVID-19 vaccines and other public-health mandates are often portrayed in the media as right-wing. That’s for good reason: a not-insignificant number of the most vocal conspiracists tie their ideology firmly to President Donald Trump and the right-wing MAGA movement he inspired. Videos of angry red-state demonstrators pushing back against school boards and other local authorities in public hearings, and repeating outlandish, baseless misinformation, have made the rounds in traditional media.

But in the hills of western Massachusetts and in neighboring regions of upstate New York, a traditionally left-leaning area, these theories also hold purchase. I grew up in the region and started my journalistic career there. I’ve been arguing with residents, many of whom are close friends, about vaccines for more than a decade. But despite my efforts, and the efforts of many others, a stubborn resistance to reality has set in here, and only deepened since the pandemic began. Late last month, Do We Need This?, a group of anti-vaxxers and vaccine-mandate opponents, held a “festival” in the region to raise money for their cause, suggesting a $20 donation for entry. They shared the proceeds with other national vaccine-skeptic groups, including NY Stands Up!, the Informed Consent Action Network, and Robert Kennedy Jr.’s Children’s Health Defense.

Boghuma Kabisen Titanji was just 8 years old when the hyper-contagious virus swept through her classroom. Days later, she started to feel feverish, and developed a sparse, rosy rash. Three years after being fully dosed with the measles vaccine, one of the most durably effective immunizations in our roster, Titanji fell ill with the very pathogen her shots were designed to prevent.

Her parents rushed her to a pediatrician, worried that her first inoculations had failed to take. But the doctor allayed their fears: “It happens. She’ll be fine.” And she was. Her fever and rash cleared up in just a couple of days; she never sickened anyone else in her family. It was, says Titanji, now an infectious-disease physician and a researcher at Emory University, a textbook case of “modified” measles, a rare post-vaccination illness so mild and unthreatening that it doesn’t even deserve the full measles name.

Updated at 11:51 a.m. ET on September 22, 2021.

On the day that SpaceX’s first space tourists launched, Elon Musk was there at Kennedy Space Center, in Florida, to see them off, cheering as the private astronauts walked to the Teslas that would take them to suit up. And after they landed safely, having orbited Earth about 45 times, Musk was there again to congratulate them in person.

The Inspiration4 mission marked SpaceX’s fourth successful human spaceflight, and a SpaceX official says the company wants to fly paying customers “three, four, five, six times a year at least.” In this era’s space race among private companies, Musk’s SpaceX pulled ahead on essentially every measure but one—giving the CEO a lift above the atmosphere. Branson did it, Bezos did it—so why hasn’t Musk himself flown yet?

Last year, John Eastman, whom CNN describes as an attorney working with Donald Trump’s legal team, wrote a preposterous memo outlining how then–Vice President Mike Pence could overturn the 2020 election by fiat or, failing that, throw the election to the House of Representatives, where Republicans could install Trump in office despite his loss to Joe Biden. The document, which was first reported by the Washington Post journalists Bob Woodward and Robert Costa in their new book, is a step-by-step plan to overthrow the government of the United States through a preposterous interpretation of legal procedure.

Pence apparently took the idea seriously—so seriously, in fact, that, according to Woodward and Costa, former Vice President Dan Quayle had to talk him out of it. Prior to November, the possibility of Trump attempting a coup was seen as the deranged fever dream of crazed liberals. But as it turns out, Trump and his advisers had devised explicit plans for reversing Trump’s loss. Republican leaders deliberately stoked election conspiracy theories they knew to be false, in order to lay a political pretext for invalidating the results. Now, more than 10 months after the election, the country knows of at least five ways in which Trump attempted to retain power despite his defeat.

Updated at 9:28 a.m. on September 21, 2021.

For nearly two years now, Americans have lived with SARS-CoV-2. We know it better than we once did. We know that it can set off both acute and chronic illness, that it spreads best indoors, that masks help block it, that our vaccines are powerful against it. We know that we can live with it—that we’re going to have to live with it—but that it can and will exact a heavy toll.

Still, this virus has the capacity to surprise us, especially if we’re not paying attention. It is changing all the time, a tweak to the genetic code here and there; sometimes, those tweaks add up to new danger. In a matter of weeks, the Delta variant upended the relative peace of America’s early summer and ushered in a new set of calculations about risk, masking, and testing. The pandemic’s endgame shifted.

When Dear Evan Hansen premiered on Broadway in 2016, it drew near-universal praise from New York’s theater critics. Ben Platt, playing an anxious teenager who becomes an internet celebrity after misrepresenting his role in a local tragedy, was showered with plaudits, and the show ended up winning six Tony Awards—the most of the season—including Best Musical and a leading-actor trophy for Platt. A film version was thus hardly a surprise. But when the director Stephen Chbosky’s extremely faithful adaptation premiered as the opening-night movie of this year’s Toronto International Film Festival—the movie will be released in theaters this Friday—the reviews that followed were … broadly bad.

What changed? It wasn’t the story or the songs. Dear Evan Hansen the film is written by Steven Levenson, who wrote the narrative of the Broadway show, and largely retains the score, by Benj Pasek and Justin Paul (a few of the least compelling numbers have been cut; others have been added). And while the cast around Platt is mostly filled out by movie stars rather than Broadway veterans, the performances from actors such as Amy Adams, Julianne Moore, Kaitlyn Dever, and Amandla Stenberg are uniformly solid. Did something get lost in translation, or is this an emperor’s-new-clothes moment revealing that Dear Evan Hansen never was any good in the first place?

This article contains spoilers for The Terror and The North Water.

Of all the horrors of a 19th-century European voyage to the Arctic—noses and cheeks turned necrotic by frostbite, snow blindness, sea madness, broken bones badly knit—perhaps most ghastly was scurvy. The disease often starts with stiff limbs and ulcerating skin. Gums bleed and blacken, then engorge and protrude over the teeth or their absent weeping sockets like a dark second set of lips. This tissue is actively rotting, so living men smell dead. Odors and sounds become agonizingly, even dangerously, intense; hearing a gunshot can kill. And because many sufferers hallucinate that they are among the foods and comforts of home, some doctors called the affliction “nostalgia.”

Devotees to the cause of religious liberty may be startled to discover during the Supreme Court’s upcoming term that the latest legal-theological dispute finds the state of Texas locked in conflict with traditional Christian practice, where rites for the sick, condemned, and dying disrupt the preferences of executioners.

A recent stay in Ramirez v. Collier has again put Texas on the defense in a series of cases about whether death-row inmates have the right to be joined by clergy of their choice in the execution chamber. Earlier this month, the Court agreed to hear John Henry Ramirez’s claim that Texas’s refusal to allow a pastor to lay hands on and pray over him in the execution chamber is a violation of his constitutional rights; lower courts had held that silent prayer would suffice, which Ramirez protested. The Court issued a stay in a similar case in June 2020, when another Texas inmate, Ruben Gutierrez, asked for a Catholic priest to join him as he was killed. The Court has likewise intervened in Alabama, which has banned all clergy from its execution chamber, a policy that Texas enacted two years ago but reversed in April. Now Texas says it will allow clergy of any faith, provided they are vetted and pass a background check—though still with other limitations, as Ramirez shows.

When the camera turned to Michaela Coel after she won an Emmy for limited-series writing, she looked overwhelmed. The creator, star, writer, and co-director of I May Destroy You kept her head down, her shoulders slouched. Next to her, Coel’s former co-star Cynthia Erivo whispered something into her ear—a pep talk, maybe. But for a few seconds, Coel remained still, as if the weight of her first, historic Emmy win might keep her from going onstage.

Luckily, it didn’t. Coel gave one of the night’s shortest speeches, and perhaps its most revealing. In her remarks, Coel did something unusual: She thought about her audience, tried to reach beyond the other entertainers seated in the room with her. “Write the tale that scares you, that makes you feel uncertain, that isn’t comfortable,” she said. “I dare you … Visibility these days seems to somehow equate to success. Do not be afraid to disappear—from it, from us—for a while, and see what comes to you in the silence.” She spoke directly to the potential storytellers hoping to one day be onstage. And she didn’t just advise them; in a night of pomp and circumstance, she reminded them of the value of quieter triumphs.