may 2004

The internet has some feedback on Peloton’s holiday ad campaign. The fitness-tech company, famous for its $2,400, Wi-Fi-enabled stationary bikes that let riders stream spin classes, debuted a new television commercial in mid-November, but it didn’t become infamous until earlier this week, when Twitter got ahold of it.

In the ad, a young mom gains confidence in the year after her husband buys her a Peloton for Christmas—or, at least, that’s what the ad seems to be aiming for. The commercial documents the woman (who is also documenting herself, via her phone’s front-facing camera) while she gets up early day after day to exercise or jumps on the bike after work. At the end, she presents the video of her exercise journey to her husband. “A year ago, I didn’t realize how much this would change me,” she tells him. “Thank you.”

For a little NASA spacecraft, the weather outside is frightful.

The Parker Solar Probe is on a mission toward the sun. The spacecraft has been exposed to scorching temperatures and intense sunlight as it draws closer with every loop around. Eventually, Parker will glide through the star’s outer atmosphere and feel the toastiness of nearly 2 million degrees Fahrenheit (more than 1 million degrees Celsius).

Parker is dressed appropriately for the journey. It wears a thick, custom-made shield to protect its scientific instruments and systems, and tubes with flowing water to cool itself down. Inside, it is a cozy 78 degrees Fahrenheit (26 degrees Celsius). Since it set out last summer, Parker has made three sweltering passes of the sun, with many more still to come in the next five years. And its findings are already surprising scientists back home.

Two of the nation’s last three presidents won the presidency in the Electoral College, even though they lost the popular vote nationwide. In 2000, Al Gore outpolled George W. Bush by more than 540,000 votes but lost in the Electoral College, 271–266. Sixteen years later, Hillary Clinton tallied almost 3 million more votes than Donald Trump but lost decisively in the Electoral College, 306–232. And, as a recent New York Times poll suggested, the 2020 election could very well again deliver the presidency to the loser of the popular vote.

Despite this, defenders of the Electoral College argue that it was created to combat majority tyranny and support federalism, and that it continues to serve those purposes. For example, Representative Dan Crenshaw of Texas, responding to Representative Alexandria Ocasio-Cortez’s recent criticism of the Electoral College, tweeted that “we live in a republic, which means 51% of the population doesn’t get to boss around the other 49%,” and that the Electoral College “promotes more equal regional representation and protects the interests of sparsely populated states.”

What on Earth was the point of the first day of the House Judiciary Committee hearings on impeachment?

The House Intelligence Committee hearings in November told a coherent story. Public-spirited career personnel and a Purple Heart Army officer were aligned on one side; venal and untruthful political operatives aligned on the other. Each witness was called for a reason.

A televised hearing in a high-stakes political contest is not a classroom seminar. It is not convened for the benefit of the already well informed. It is a show: a show that succeeds or fails according to whether it catalyzes the second-most-attentive and third-most-attentive tiers of citizens.

The Republican minority on the Judiciary Committee understood this basic rule. For all their intellectual and ethical limitations—and those were excruciating—Republicans on the committee arrived with a clear message. These hearings are a farce. We refuse to respect the most basic rules of decorum, and we grant permission to all like-minded Americans to dismiss them as thuggishly as we do. Ugly, but clear and comprehensible.

Perhaps fittingly for the end of the decade, 2019 was filled with thoughtful, retrospective works from master filmmakers who cast an eye on the past amid the rapid changes of the present. While veterans like Martin Scorsese and Quentin Tarantino wrestled with their moviemaking legacies, some of the other best works of the year were about the wrenching and rewarding labor that goes into a work of art, be it an 18th-century French portrait, an experimental student film in 1980s Britain, or one of the best-known works of American literature. By any measure, this was a thrilling year for the medium, featuring fascinating movies of all genres and styles to dissect, enjoy, and debate for decades to come. Here are my 10 favorites.