Peter Pomerantsev

Over the past two decades, Bryan Singer’s films—The Usual Suspects, Valkyrie, Superman Returns, four of the X-Men movies—have earned more than $3 billion at the box office, putting him in the top tier of Hollywood directors. He’s known for taking risks in his storytelling: It was Singer’s idea, for instance, to open the original X-Men movie with a scene at Auschwitz, where a boy uses his superpowers to bend the metal gates that separate him from his parents. Studio executives were skeptical about starting a comic-book movie in a concentration camp, but the film became a blockbuster and launched a hugely profitable franchise for 20th Century Fox.

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At first glance, the hagfish—a sinuous, tubular animal with pink-grey skin and a paddle-shaped tail—looks very much like an eel. Naturalists can tell the two apart because hagfish, unlike other fish, lack backbones (and, also, jaws). For everyone else, there’s an even easier method. “Look at the hand holding the fish,” the marine biologist Andrew Thaler once noted. “Is it completely covered in slime? Then, it’s a hagfish.”

Hagfish produce slime the way humans produce opinions—readily, swiftly, defensively, and prodigiously. They slime when attacked or simply when stressed. On July 14, 2017, a truck full of hagfish overturned on an Oregon highway. The animals were destined for South Korea, where they are eaten as a delicacy, but instead, they were strewn across a stretch of Highway 101, covering the road (and at least one unfortunate car) in slime.

On Friday, January 18, a group of white teenage boys wearing MAGA hats mobbed an elderly Native American man on the steps of the Lincoln Memorial, chanting “Make America great again,” menacing him, and taunting him in racially motivated ways. It is the kind of thing that happens every day—possibly every hour—in Donald Trump’s America. But this time there was proof: a video. Was it problematic that it offered no evidence that these things had happened? No. What mattered was that it had happened, and that there was video to prove it. The fact of there being a video became stronger than the video itself.

The video shows a man playing a tribal drum standing directly in front of a boy with clear skin and lips reddened from the cold; the boy is wearing a MAGA hat, and he is smiling at the man in a way that is implacable and inscrutable. The boys around him are cutting up—dancing to the drumbeat, making faces at one another and at various iPhones, and eventually beginning to tire of whatever it is that’s going on. Soon enough, the whole of the video’s meaning seems to come down to the smiling boy and the drumming man. They are locked into something, but what is it?

With a couple hundred dollars and a few minutes, you could go to a liquidation website right now and buy a pallet full of stuff that people have returned to Amazon. It will have, perhaps, been lightly sorted by product category—home decor, outdoor, apparel—but this is mostly aspirational. For example, in one pallet labeled “home decor,” available for sale on liquidation.com, you could find hiking crampons, shimmer fabric paint, a High Visibility Thermal Winter Trapper Hat, a Mr. Ellie Pooh Natural White Paper List Pad, a St. Patrick’s Pot O’ Gold Cupcake Decorating Kit, a Spoontiques Golf Thermometer, a Feliz Cumpleanos Candle Packaged Balloon, and five Caterpillar Hoodies for Pets.

In a short, viral video shared widely since Friday, Catholic high-school students visiting Washington, D.C., from Kentucky for the March for Life appeared to confront, and mock, American Indians who had participated in the Indigenous Peoples March, taking place the same day.

By Saturday, the video had been condensed into a single image: One of the students, wearing a “Make America Great Again” hat, smiles before an Omaha tribal elder, a confrontation viewers took as an act of aggression by a group of white youths against an indigenous community—and by extension, people of color more broadly. Online, reaction was swift and certain, with legislators, news outlets, and ordinary people denouncing the students and their actions as brazenly racist.

It was like a scene out of left-wing protest literature: a group of white, parochial-school boys in “Make America Great Again” gear taunting an American Indian protester, jeering and laughing, on the steps of the Lincoln Memorial after attending the anti-abortion March for Life.

The video lit up social media, leading to harsh condemnations of the school and the children in the video, and linking their behavior to the president. Disgust was, for the most part, bipartisan, and both the school, Covington Catholic, and the March for Life issued condemnations. Many observers, including me, saw another dramatic example of people publicly affiliating themselves with the president acting in cruel or prejudiced fashion.

In 1987, a man, a woman, and their daughter attended a Tchaikovsky concert at the Hollywood Bowl. The most notable thing about their outing, all these years later, is something that actually wasn’t the least bit unusual: The two women waited in an interminably long line for the bathroom, while the man did not.

What separates their uncomfortable experience from those of innumerable others is that the man in their party was a California state senator. After witnessing just how long his family members had to wait, he introduced legislation to guarantee the state’s women more toilets.

In the three decades since, dozens of cities and states have joined the cause of “potty parity,” the somewhat trivializing nickname for the goal of giving men and women equal access to public toilets. These legislative efforts, along with changes to plumbing codes that altered the ratio of men’s to women’s toilets, have certainly helped imbalances in wait times, but they haven’t come close to resolving them.

Astrophysicists usually don’t get chased by reporters, but that’s what happened to Avi Loeb last November.

They bombarded Loeb’s phone lines. They showed up at his office with television crews. One of them even followed him home and confronted him at the front door, demanding Loeb answer a question.

“Do you believe that extraterrestrial intelligence exists?”

Days earlier, Loeb had published a new research paper in an astrophysics journal. Scientists publish thousands of research papers every year in journals big and small, prestigious and obscure. Usually, aside from some basic coverage by science journalists, these papers attract little public attention. But Loeb’s latest work covered a topic that is historically very attention-getting: aliens.

Like many people who spend too much time on Twitter, I watched with indignation Saturday morning as stories began appearing about a confrontation near the Lincoln Memorial between students from Covington Catholic High School and American Indians from the Indigenous Peoples March. The story felt personal to me; I live a few miles from the high school, and my son attends a nearby all-boys Catholic high school. I texted him right away, ready with a lesson on what the students had done wrong.

“They were menacing a man much older than them,” I told him, “and chanting ‘Build the wall!’ And this smirking kid blocked his path and wouldn’t let him leave.” The short video, the subject of at least two-thirds of my Twitter feed on Saturday, made me cringe, and the smirking kid in particular got to me: His smugness, radiating from under that red MAGA hat, was everything I wanted my teenagers not to be.

Ariana Grande’s “7 Rings” lets you know, in its very first verse, that it’s copying. “Breakfast at Tiffany’s and bottles of bubbles / Girls with tattoos who like getting in trouble,” she sings in place of the “Raindrops on roses / and whiskers on kittens” made famous by Rodgers and Hammerstein, who are listed among the 10 songwriters for the pop star’s latest single.

But this is not an Austrian-alps show tune. It’s a rap and R&B song, inspired by—or taking from—black artists.  For the chorus, a marching-formation beat kicks in and Grande whispers, in a clipped rhythm, “I want it, I got it, I want it, I got it.” In the bridge, she raps in a kind of ranging, liquid style reminiscent of Beyoncé and Nicki Minaj’s “Flawless (Remix),” with a reference to The Notorious B.I.G.’s “Gimme the Loot.” After the single was released last Friday, two rappers—Princess Nokia and Soulja Boy—posted videos accusing Grande of stealing their flows. 2 Chainz suggested the music video ripped off the pink trap house he set up as a promotional and public-health effort in Atlanta, and other people noted similarities with his song “Spend It.”