march 2006

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.

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?

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 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.

As the Age of Delta scrambles back-to-office timelines, I find myself wondering what offices are good for in the first place.

I am pro-office. I miss a good eavesdropping, the promise of midday gossip, the “quick random question” that blooms into a half-hour conversation, and, theoretically, the magical combustion of creativity forged by these connections.

These things aren’t what I’m directly paid to do when I’m in the office, and they’re not what I’m annually evaluated for doing. Instead, they’re what I think of as “soft work.” “Hard work,” for me, is reading, researching, calling people, transcribing conversations, and writing articles. For others, it might include managing employees, working in Excel or PowerPoint, or reading and writing a zillion emails. (This kind of hard work, I should note, doesn’t have to be physically difficult.) If the past year and a half has taught us anything, it’s that white-collar workers can do hard work from home just about as well as they can do it in the office—and maybe even better, precisely because their colleagues aren’t interrupting them.