Social media gets blamed for many of America’s ills, including the polarization of our politics and the erosion of truth itself. But proving that harms have occurred to all of society is hard. Far easier to show is the damage to a specific class of people: adolescent girls, whose rates of depression, anxiety, and self-injury surged in the early 2010s, as social-media platforms proliferated and expanded. Much more than for boys, adolescence typically heightens girls’ self-consciousness about their changing body and amplifies insecurities about where they fit in their social network. Social media—particularly Instagram, which displaces other forms of interaction among teens, puts the size of their friend group on public display, and subjects their physical appearance to the hard metrics of likes and comment counts—takes the worst parts of middle school and glossy women’s magazines and intensifies them.

As fall dips into winter in the Northern Hemisphere, the coronavirus has served up the holiday gift that no one, absolutely no one, asked for: a new variant of concern, dubbed Omicron by the World Health Organization on Friday.

Omicron, also known as B.1.1.529, was first detected in Botswana and South Africa earlier this month, and very little is known about it so far. But the variant is moving fast. South Africa, the country that initially flagged Omicron to WHO this week, has experienced a surge of new cases—some reportedly in people who were previously infected or vaccinated—and the virus has already spilled across international borders into places such as Hong Kong, Belgium, Israel, and the United Kingdom. Several nations are now selectively shutting down travel to impede further spread. For instance, on Monday, the United States will start restricting travel from Botswana, South Africa, Zimbabwe, Namibia, Lesotho, Eswatini, Mozambique, and Malawi.

If Donald Trump had been supported only by people who affirmatively liked him, his attack on American democracy would never have gotten as far as it did.

Instead, at almost every turn, Trump was helped by people who had little liking for him as a human being or politician, but assessed that he could be useful for purposes of their own. The latest example: the suddenly red-hot media campaign to endorse Trump’s fantasy that he was the victim of a “Russia hoax.”

Franklin Foer: Russiagate was not a hoax

The usual suspects in the pro-Trump media ecosystem will of course endorse and repeat everything Trump says, no matter how outlandish. But it’s not pro-Trumpers who are leading the latest round of Trump-Russia denialism. This newest round of excuse-making is being sounded from more respectable quarters, in many cases by people distinguished as Trump critics. With Trump out of office—at least for the time being—they now feel free to subordinate their past concerns about him to other private quarrels with the FBI or mainstream media institutions. On high-subscription Substacks, on popular podcasts, even from within prestige media institutions, people with scant illusions about Trump the man and president are nonetheless volunteering to help him execute one of his Big Lies.

In David Mamet’s film State and Main, a Hollywood big shot tries to shortchange a set hand by offering him an “associate producer” credit on a movie. A screenwriter overhears the exchange and asks, “What’s an ‘associate producer credit’?” The big shot answers: “It’s what you give your secretary instead of a raise.”

The practice of “land acknowledgment”—preceding a fancy event by naming the Indigenous groups whose slaughter and dispossession cleared the land on which the audience’s canapés are about to be served—is one of the greatest associate-producer credits of all time. A land acknowledgment is what you give when you have no intention of giving land. It is like a receipt provided by a highway robber, noting all the jewels and gold coins he has stolen. Maybe it will be useful for an insurance claim? Anyway, you are not getting your jewels back, but now you have documentation.

In 2007, in one of the first episodes of Diners, Drive-Ins and Dives, Guy Fieri visited Patrick’s Roadhouse, a railway-station-turned-restaurant in Santa Monica, California. The diner’s chef, Silvio Moreira, walked Fieri through the preparation of one of Patrick’s most notable dishes, the Rockefeller—a burger topped with mushrooms, sour cream, jack cheese, and … caviar. Fieri, looking playfully trepidatious, lifted the burger with both hands, said a fake prayer, and did what he would proceed to do thousands of times on the show: He took an enormous bite. And then he fell silent. “Wooow,” he commented, finally, shooting Moreira a what-have-you-done-to-me look.

“Different, huh?” Moreira said, grinning. “Yeah,” Fieri replied. The show’s camera discreetly cut away to the next scene.

When I first suspected that I was losing my hair, I felt like maybe I was also losing my grip on reality. This was the summer of 2020, and although the previous three months had been difficult for virtually everyone, I had managed to escape relatively unscathed. I hadn’t gotten sick in New York City’s terrifying first wave of the pandemic. My loved ones were safe. I still had a job. I wasn’t okay, necessarily, but I was fine. Now my hair was falling out for no appreciable reason. Or at least I thought it was—how much hair in the shower drain is enough to be sure that you’re not imagining things?

The second time it happened, a little more than a year later, I was sure—not because of what was in the shower drain, but because of what was obviously no longer on my head. One day, after washing and drying my hair, I looked at my hairline in the mirror and it was thin enough that I could make out the curvature of my scalp beneath it. I still had enough hair, but notably less than I’d had before the pandemic. Feeling a sense of dull panic at the no-longer-refutable idea that something might be wrong, I tipped my head forward to take a picture of my scalp with my phone’s front-facing camera. When I looked at it, the panic became sharp.

To appreciate the complexities of the competing demands between climate action and the continued need for energy, consider the story of an award—one that the recipient very much did not want and, indeed, did not bother to pick up.

It began when Innovex Downhole Solutions, a Texas-based company that provides technical services to the oil and gas industry, ordered 400 jackets from North Face with its corporate logo. But the iconic outdoor-clothing company refused to fulfill the order. North Face describes itself as a “politically aware” brand that will not share its logo with companies that are in “tobacco, sex (including gentlemen’s clubs) and pornography.” And as far as North Face is concerned, the oil and gas industry fell into that same category—providing jackets to a company in that industry would go against its values. Such a sale would, it said, be counter to its “goals and commitments surrounding sustainability and environmental protection,” which includes a plan to use increasing amounts of recycled and renewable materials in its garments in future years.

At universities, the recent acquittal of Kyle Rittenhouse should be an opportunity to study a divisive case that sparked complex debates about issues as varied as self-defense laws, guns, race, riots, the rights of defendants, prosecutorial missteps, media bias, and more. If administrators were doing their jobs, faculty and students would freely air a wide variety of viewpoints and have opportunities to better understand one another’s diverse perspectives. Instead, many administrators are preemptively imposing their preferred narratives.

The Rittenhouse saga began in Kenosha, Wisconsin, on August 25, amid rioting that followed the police shooting of a Black man. Rittenhouse, then 17, armed himself with an AR-15-style rifle and walked into the chaos, claiming that he intended to protect the community. He wound up shooting three men, killing two. Last week, a Wisconsin jury found him not guilty of murder, crediting his claim that, at the moment he fired, he feared for his life and acted in self-defense. This, many analysts argued, was a plausible conclusion to draw from Wisconsin law and video footage and testimony presented at trial.

Moviegoing is at a strange, tenuous moment. With pandemic fears still circulating, and many studios still delaying their films’ release dates, not everyone is comfortable going back to theaters yet. But this is also a time of extraordinary at-home accessibility for cinema, with many thousands of titles available to stream, or digitally rent and buy, every day. So I’ve returned to a topic that sustained me during 2020’s most isolated moments: celebrating underrated and unique movies in need of wider appreciation. The following 26 films cross every genre and range from art-house to blockbuster. They were all unappreciated by critics or audiences on release and deserve a fresh look.

Used Cars (1980, directed by Robert Zemeckis)

The future of democracy may well be decided in a drab office building on the outskirts of Vilnius, alongside a highway crammed with impatient drivers heading out of town.

I met Sviatlana Tsikhanouskaya there this spring, in a room that held a conference table, a whiteboard, and not much else. Her team—more than a dozen young journalists, bloggers, vloggers, and activists—was in the process of changing offices. But that wasn’t the only reason the space felt stale and perfunctory. None of them, especially not Tsikhanouskaya, really wanted to be in this ugly building, or in the Lithuanian capital at all. She is there because she probably won the 2020 presidential election in Belarus, and because the Belarusian dictator she probably defeated, Alexander Lukashenko, forced her out of the country immediately afterward. Lithuania offered her asylum. Her husband, Siarhei Tsikhanouski, remains imprisoned in Belarus.