James Fallows, “Post-President for Life”; P. J. O'Rourke, “The Bill Show”; David Hajdu, “Wynton's Blues”; David Brooks, “Kicking the Secularist Habit”; Gertrude Himmelfarb, “The Victorian Achievement”; Christopher Hitchens, “The Perils of Partition”; Jonathan Rauch, “Caring for Your Introvert”; fiction by Kimberly Elkins; and much more.
Directors of today's war movies, with their insistence on graphic bloodletting and happy endings, should look at the original World War II movies, which were subtly subversive
The post-presidency of Bill Clinton will, like the Clinton Administration, be noisy and attention-getting. Will it accomplish anything—or turn out to be limbo in overdrive? Clinton is the youngest ex-President since Teddy Roosevelt—and he is still the most skillful politician in the Democratic Party. What he does with the rest of his life will set a precedent for the growing number of vigorous and long-lived ex-Presidents to come
For two decades Wynton Marsalis ruled the jazz universe, enjoying virtually unqualified admiration as a musician and unsurpassed influence as the music's leading promoter and definer. But after a series of sour notes—he parted from his record label, has been caught up in controversy at Jazz at Lincoln Center; and has been drawing increasing fire from critics and fellow musicians alike for his narrow neotraditionalism—perhaps the biggest name in jazz faces an uncertain future. Just like jazz itself
There are selves too big for one person to contain. You cannot call them selfish. There is nothing -ish about such selves. They are the self, as it were, itself
The virus can take many paths to reinvading a person’s body. Most of them shouldn’t scare us.
On its face, reinfection appears to be a straightforward term. It is literally “infection, again”—a recovered person’s second dalliance with the same microbe. Long written into the scientific literature of infectious disease, it is a familiar word, innocuous enough: a microbial echo, an immunological encore act.
But thanks to the pandemic, reinfection has become a semantic and scientific mess.
Newly saddled with the baggage of COVID-19, reinfection has taken on a more terrifying aspect, raising the specter of never-ending cycles of disease. It has sat at the center of debates over testing, immunity, and vaccines; its meaning muddled by ominous headlines, it has become wildly misunderstood. When I ask immunologists about reinfection in the context of the coronavirus, many sigh.
In his response to an adverse decision by the Supreme Court, the former president previewed an argument he’s likely to keep using.
Former President Donald Trump faces various legal and political challenges, but few seem to have gotten him as agitated as a routine, expected, unsigned decision by the Supreme Court on Monday.
Trump had already lost a bid to prevent Manhattan District Attorney Cy Vance Jr. from acquiring his financial records via subpoena. The former president then sought a stay while he searched for other means to stall. As anticipated, the justices rejected the request. Trump then issued one of just a handful of public statements he’s issued since leaving office, blasting “the Continuing Political Persecution of President Donald J. Trump.”
His vehemence is part of a long-running pattern: Trump dislikes all investigations, but nothing rattles him like probes into his finances. (When he tried to fire Special Counsel Robert Mueller, it was because of a report that Mueller had subpoenaed his financial records.) We can guess at the reasons. First, Trump is extremely defensive about anything that might imply he is not as rich as he claims. Second, there is much to suggest that Trump might have committed financial crimes.
An uncertain spring, an amazing summer, a cautious fall and winter, and then, finally, relief.
Updated at 10:12 a.m. ET on February 24, 2021.
The end of the coronavirus pandemic is on the horizon at last, but the timeline for actually getting there feels like it shifts daily, with updates about viral variants, vaccine logistics, and other important variables seeming to push back the finish line or scoot it forward. When will we be able to finally live our lives again?
Pandemics are hard to predict accurately, but we have enough information to make some confident guesses. A useful way to think about what’s ahead is to go season by season. In short: Life this spring will not be substantially different from the past year; summer could, miraculously, be close to normal; and next fall and winter could bring either continued improvement or a moderate backslide, followed by a near-certain return to something like pre-pandemic life.
A new docuseries about the molestation allegation against Woody Allen is determinedly focused on making its case, sometimes at the expense of nuance.
Updated at 3:33 p.m. ET on February 24, 2021.
Watching Allen v. Farrow, HBO’s new four-part miniseries about the 29-year-old allegations of child molestation against the director Woody Allen, I kept having a feeling that I couldn’t entirely identify. Since revelations about Harvey Weinstein emerged in late 2017—broken, in part, by Allen’s son, Ronan Farrow—harrowing stories about abusive men in the workplace have been reported one after another. But the story of Dylan Farrow, who was 7 years old in 1992, when she told her mother that her father had sexually abused her, is different, an allegation of domestic trauma that’s been weaponized by interested parties again and again. The feeling I had, I eventually realized, was one of wanting to look away. Not because I don’t believe Dylan (I do), or because I believe Allen’s work is so valuable that her testimony is worth shunting aside (I don’t, and no one’s is). It’s queasier than that: a nagging sense that, at this point, there’s still no way for Dylan to tell her story without it being exploited.
The Netflix neo-noir isn’t just about a merciless scammer; it’s about the broken bureaucracies that enable her abuse.
Psychiatric hospitals, nursing homes, and other long-term-care facilities have served as chilling backdrops to some of film’s most arresting psychological thrillers. But the foreboding lighthouse of Shutter Island and the macabre, labyrinthine hospital of One Flew Over the Cuckoo’s Nest pale in comparison with both movies’ animating horrors: the wretched treatment of the people trapped within. These works dramatize the cruelties that hospital administrators and caretakers exact upon their patients, especially those who have been admitted against their will, with Hitchcockian dread. In doing so, they challenge conventional wisdom about mental illness, authority, and the ethics of condemning people to isolation.
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