may 2008

World, meet Omicron; Omicron, meet a lot of people who are very, very anxious to know more about you.

The arrival of the newest coronavirus variant, first identified in Botswana and South Africa and now present in the United States, might be bad news, or it might be terrible news—or maybe it’s just a temporary distraction from Delta. Ultimately, Omicron’s effect on the course of the pandemic will be determined by three factors: its transmissibility; the degree to which it evades our existing immune defenses; and its virulence, or the severity of the disease that it causes. If Omicron turns out to jump between hosts with ease, blow past our neutralizing antibodies, and cause unusually dangerous complications, we’ll all be in deep trouble. But it could also turn out to do a lot of other things, with more subtle implications. If Omicron ends up being super contagious, for example, but mild in its symptoms, that might even be a good thing—a perfect variant, just in time for Christmas.  

The Humans features no ghosts, monsters, or poltergeists. It’s not set inside a haunted house, an abandoned building, or a tract of shadowy woods. And yet, it might be the scariest movie of the year.

Based on Stephen Karam’s Tony-winning play, and adapted and directed by Karam himself, The Humans centers on the Blake family as they gather in lower Manhattan for a Thanksgiving dinner. The mood is about as warm as a broken oven. Deirdre (Jayne Houdyshell, brilliantly reprising her role from the play) and Erik (Richard Jenkins) have driven hours to visit their younger daughter, Brigid (Beanie Feldstein), at her new apartment, where she lives with her boyfriend, Richard (Steven Yeun)—but all they’ve gotten for their journey are terse thank-yous and cheap champagne in plastic cups. Aimee (Amy Schumer), their older daughter, is still reeling from a recent breakup and career setbacks, while Momo (June Squibb), Erik’s mother, has dementia and must be cared for at all times. The setting doesn’t help: Brigid and Richard’s home is a thin-walled, claustrophobia-inducing space that lets in barely any natural light. Each family member has something to get off his or her chest, and it’s as if their collective dread has permeated the foreboding premises. Or is it the reverse?

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Let’s start with a simple mystery: What happened to original blockbuster movies?

Throughout the 20th century, Hollywood produced a healthy number of entirely new stories. The top movies of 1998—including Titanic, Saving Private Ryan, and There’s Something About Mary—were almost all based on original screenplays. But since then, the U.S. box office has been steadily overrun by numbers and superheroes: Iron Man 2, Jurassic Park 3, Toy Story 4, etc. Of the 10 top-grossing movies of 2019, nine were sequels or live-action remakes of animated Disney movies, with the one exception, Joker, being a gritty prequel of another superhero franchise.

Some people think this is awful. Some think it’s fine. I’m more interested in the fact that it’s happening. Americans used to go to movie theaters to watch new characters in new stories. Now they go to movie theaters to re-submerge themselves in familiar story lines.

Last month, at the National Conservatism conference, a gathering of hundreds of leaders and members of a movement that hopes to represent a new, less libertarian American right, one of the speakers, a lawyer named Josh Hammer, delivered a strange denunciation of “fusionism.” For those not steeped in the language of conservatism, fusionism refers to the alliance among economic conservatives, social conservatives, and defense hawks forged during the Reagan administration. It was designed to confront government overreach at home and the threat of Soviet tyranny abroad.

Fusionism, Hammer said, is “inherently effete, limp, and, as Hillsdale College’s David Azerrad might say, unmasculine.” It “makes for a cowardly way to approach politics” in part because it “ensures never having to face pushback from one’s political opponents on the most contested issues.”

You know that feeling when you’re playing Jenga, and the blocks are stacked remarkably high, and then someone bumps the table? And as the tower wobbles, everyone just watches in wide-eyed panic, willing it to stabilize with a desperate, silent prayer: Please don’t fall, please don’t fall.

I can only assume that’s how it felt last month, when technicians were working on NASA’s new space telescope and a very important clamp suddenly unclamped, sending vibrations coursing through the entire instrument. Officials didn’t provide details about the mood in the room at that moment, but it must have been something along the lines of Oh no, oh no, oh no. This particular Jenga tower is a $10 billion telescope, and NASA has been playing the game for 25 years, carefully arranging piece after piece to produce one of the most sophisticated scientific instruments in human history.