My Aunt Ruth won’t watch Hillbilly Elegy, the movie adaptation of J. D. Vance’s memoir about growing up in and eventually escaping Appalachia and a mother coping with addiction. Practically speaking, my aunt doesn’t have a Netflix account or any of the smart technology she’d need to stream it. But she also has no interest in watching a story of her community that doesn’t reflect what she sees and that she knows will be exploitative, harmful, and not helpful to moving her or her neighbors forward.

Hillbilly Elegy doesn’t show the positive side of Appalachia that my aunt and I know, because that wouldn’t serve the story’s purposes. The film and book need Appalachia to be poor, broken, and dirty, because they depend on us believing that the mountains are somewhere we want Vance to escape. They need to frame poverty as a moral failing of individuals—as opposed to systems—because they have to imply that something about Vance’s character allowed him to get away from his hillbilly roots. Hillbilly Elegy has to simplify the people and problems of Appalachia, because it has decided to tell the same old pull-yourself-up-by-your-bootstraps narrative that so many of us reject.

Two weeks ago, I staged a reluctant intervention via Instagram direct message. The subject was a longtime friend, Josh, who had been sharing photos of himself and his fiancé occasionally dining indoors at restaurants since New York City, where we both live, had reopened them in late September. At first, I hadn’t said anything. Preliminary research suggests that when people congregate indoors, an infected person is almost 20 times more likely to transmit the virus than if they were outside. But restaurants are open legally in New York, and I am not the COVID police. Josh and I had chatted several times in the early months of the pandemic about safety, and I felt sure that he was making an informed decision, even if it wasn’t the one I’d make.

At the dawn of the 1960s, a couple of New York admen named Arthur Rankin Jr. and Jules Bass created the Christmas special. Before that, the networks hadn’t been sure exactly how they should entertain children during the holiday season. They had largely come down on the side of edification, as seen in NBC’s 1951 commission of a children’s opera, Amahl and the Night Visitors, broadcast live on Christmas Eve, after which the show lived on in reruns, and—also on NBC—Babes in Toyland, a turn-of-the-last-century operetta based on the Mother Goose tales.

But American children of the 1960s weren’t going to put up with operas and nursery rhymes. We had grown strong on orange juice, casseroles, and chewable vitamins. We weren’t afraid of polio or tuberculosis—we had the Salk vaccine and the tine test. We had had one small step for mankind, 31 flavors, and 101 dalmatians. The previous decade had already established the whims of children as a legitimate market force; in two years, Wham-O had made $45 million on the Hula-Hoop. Rich guys in office buildings were taking us seriously. What did we want next?

There’s never a good time to get sick with COVID-19, but in the next few weeks it will be especially dangerous. America’s coronavirus epidemic is really, really bad right now.

One-hundred-seventy-thousand-new-cases-a-day bad. Hospital-systems-on-the-brink-of-collapse bad.

I asked Atlantic writers who have spent months reporting on the pandemic for their simplest advice on making it to the new year. Some Americans live with roommates, some can’t work without child care, and some have to work in crowded conditions—everyone’s situation is different—but these basic tips can, we hope, be helpful in a variety of situations. My colleagues’ guidance boils down to this winter’s golden rule for interacting with anyone outside your immediate household: Don’t spend time indoors with other people.

Updated at 9:10 a.m. ET on November 25, 2020.

By now, the pandemic has disrupted Americans’ daily lives for nearly as long as a baby typically spends in the womb. This means that many children conceived in mid-March are weeks away from joining us in this disorienting new world, but just as notable are the children who won’t be joining us—the babies who would have been born were it not for the ongoing economic and public-health crises. These missing births, which could end up numbering in the hundreds of thousands in the U.S., will make up what’s been called the “COVID baby bust.”

One would think that a baby bust would take at least nine months to reveal itself, but traces of one seem to have already appeared. As Philip Cohen, a sociologist at the University of Maryland, has noted, births started to decline in California and Florida during the summer. That’d be too soon, though, to reflect a drop in conceptions during the pandemic, or a rise in abortions or miscarriages (which tend to happen earlier on in pregnancy). Three possible explanations, Cohen told me, are errors or lags in states’ data on births, large numbers of pregnant people moving during the pandemic and giving birth in another state, or a large, unexpected drop-off in births that was already going to happen regardless of the pandemic.

“Everyone in this world is one of three kinds,” declares Mamaw (played by Glenn Close), the wise grand-matriarch of Ron Howard’s new film, Hillbilly Elegy. “A good Terminator, a bad Terminator, and neutral.” I hate to correct Mamaw, who is trying to encourage her impressionable grandson, J. D. Vance (Gabriel Basso), to follow a righteous path by invoking Arnold Schwarzenegger’s beloved action franchise. But there is no such thing as a “neutral” Terminator; those cyborg heroes exist to either protect or destroy. I cannot imagine what a neutral Terminator would do, save sit in a chair and remain forever shiny and inactive.

Mamaw is entitled to her bad movie opinions, of course. But this monologue is the kind of speechifying that rings hollow throughout Hillbilly Elegy, an adaptation of Vance’s best-selling 2016 memoir that debuts on Netflix tomorrow. When it first arrived on bookshelves, Vance’s story was celebrated as a glimpse into an oft-ignored pocket of America: the white working class of Appalachia and the Rust Belt who swung to Donald Trump in the 2016 election. Hailed as an “anger translator” and cited by Oprah Winfrey and Hillary Clinton, Vance wrote about growing up poor, living with a heroin-addicted mother, and clawing his way into Yale Law School. The book arrived at a seemingly serendipitous moment, offering a bleak but candid view of communities gutted by drug abuse and poverty.

Emotionally and politically, 2008 stands as a high-water mark for many American liberals—a year that brought both electoral triumph and national renewal as Barack Obama was swept into office and Democrats took the House and Senate. For those on the progressive left today, however, it should serve as a warning and case study in the way that popular energy and progressive agitation can dissipate when a Democratic administration takes power.

On Saturday morning, Megan Ranney was about to put on her scrubs when she heard that Joe Biden had won the presidential election. That day, she treated people with COVID-19 while street parties erupted around the country. She was still in the ER in the late evening when Biden and Vice President–elect Kamala Harris made their victory speeches. These days, her shifts at Rhode Island Hospital are long, and they “are not going to change in the next 73 days,” before Biden becomes president, she told me on Monday. Every time Ranney returns to the hospital, there are more COVID-19 patients.

In the months since March, many Americans have habituated to the horrors of the pandemic. They process the election’s ramifications. They plan for the holidays. But health-care workers do not have the luxury of looking away: They’re facing a third pandemic surge that is bigger and broader than the previous two. In the U.S., states now report more people in the hospital with COVID-19 than at any other point this year—and 40 percent more than just two weeks ago.

“The guardrails of our system actually worked,” the political analyst Amy Walter marveled on Monday evening, capturing how many reacted to the Trump administration initiating a formal transition of power to the Biden administration. American democracy had survived its weeks-long brush with disaster, despite President Donald Trump’s baseless fraud claims, surreal press conferences, and shaky legal challenges. All of this brought relief (“excellent news for American democracy”), triumphalism (“we saved ourselves and America”), ample use of the past tense (“Never forget how dangerous and abnormal this all was”), and ridicule of the Trumpian sideshow (“rage tweeting” and “comical lawsuits”).

This isn’t over, folks. While the decision to begin the transition process does amount to an implicit concession by the president, Trump hasn’t yet explicitly acknowledged his loss—and there are indications he might never do so. As I write, in fact, the president is continuing to insist that the “2020 Election Hoax” will “go down as the most corrupt election in American political history,” that he will continue to press this case, and that he “will never concede to fake ballots & ‘Dominion.’”

On November 7, after four days of counting votes, Democrats celebrated the end of a “long national nightmare.” And when former Vice President Joe Biden took the stage in Wilmington, Delaware, to deliver his victory speech that Saturday night, he quickly extended a hand to President Donald Trump’s supporters, who may have felt demoralized by the loss.

“I understand the disappointment tonight,” Biden said. “I’ve lost a couple of times myself. But now let’s give each other a chance... This is a time to heal in America.” Prior to the November election, Trump and Biden supporters alike argued that if the other candidate were to be elected, “it would result in lasting harm to the country,” according to a survey from the Pew Research Center.