“I’m asking you to intervene in this instance because the President of the United States has taken something that does not belong to him—the memory of my dead wife—and perverted it for perceived political gain.”

There may be a more damning thing that’s been said about an American president, but none immediately comes to mind.

This sentence is from a heartbreaking May 21 letter written by Timothy Klausutis to Jack Dorsey, the CEO of Twitter, asking Dorsey to delete a series of tweets by Donald Trump. Klausutis is the widower of Lori Kaye Klausutis, who died nearly 20 years ago. (Timothy Klausutis, who never remarried, still lives in the house he shared with his wife.) The autopsy conducted at the time of Lori’s death confirmed that it was an accident; she had fainted as the result of a heart condition, hitting her head on a desk. There’s not a thimble of evidence of foul play.

So many mysteries surround Donald Trump: the contents of his tax returns, the apparent miracle of his graduation from college. Some of them are merely curiosities; others are of national importance, such as whether he understood the nuclear-weapons briefing given to every president. I prefer not to dwell on this question.

But since his first day as a presidential candidate, I have been baffled by one mystery in particular: Why do working-class white men—the most reliable component of Donald Trump’s base—support someone who is, by their own standards, the least masculine man ever to hold the modern presidency? The question is not whether Trump fails to meet some archaic or idealized version of masculinity. The president’s inability to measure up to Marcus Aurelius or Omar Bradley is not the issue. Rather, the question is why so many of Trump’s working-class white male voters refuse to hold Trump to their own standards of masculinity—why they support a man who behaves more like a little boy.

The Florida Keys are a place where deer stand next to children at school-bus stops. They lounge on lawns. They eat snacks right out of people’s hands. So when the deer began acting strangely in the summer of 2016, the people of the Keys noticed. Bucks started swinging their heads erratically, as if trying to shake something loose.

Then wounds opened on their heads—big, gaping wounds that exposed white slabs of bone. Something was eating the deer alive.

That something, lab tests would later confirm, was the New World screwworm, a parasite supposed to have been eradicated from the United States half a century ago. No one in the Keys had ever seen it. If you had asked an old-time Florida rancher though, he might have told you boyhood stories of similarly disfigured and dying cattle. In those days, screwworms found their way into cattle through any opening in the skin: the belly buttons of newborn calves, scratches from barbed wire, even a tick bite. Then they feasted.

When I glanced out the window of my restaurant one day not long ago, I saw a woman struggling to climb over the large table that was blocking access to our front doors. The table gave my staff a spot to drop off to-go food outside while keeping a wide berth from our customers. But it also served as a visual and psychological barricade: You, our guest, stay on one side while we, the restaurant workers, stay on the other, safely preparing your order.

So I stepped outside to ask our would-be patron, who was old enough to be my grandmother, if she might refrain from crawling over the table, which is surrounded by ropes and planters and signs and directional arrows and brightly colored buoys to reinforce our message. She looked at me, dumbfounded. “But then how …,” she stammered, “how am I supposed to get in?”

The word unique has to be one of the most overused descriptors in show business; if every movie that got touted as one-of-a-kind by its marketing team actually was, there’d be no further complaints about Hollywood creativity. But every once in a while, I’ll have a cinematic experience that feels genuinely unprecedented, when a work plays with the medium and its modes of storytelling in ways I didn’t think possible. The 30 movies I’ve gathered below—all of which are available to watch online—are singular, whether they’re experimental documentaries, visionary works of animation, or labyrinthine epics. Each is unforgettable, and a reminder of cinema’s potential to flout narrative convention, subvert visual traditions, and find new ways to express timeless themes.

Updated at 12:08 a.m. ET on May 26, 2020.

COVID-19 has mounted a sustained attack on public life, especially indoor life. Many of the largest super-spreader events took place inside—at a church in South Korea, an auditorium in France, a conference in Massachusetts. The danger of the indoors is more than anecdotal. A Hong Kong paper awaiting peer review found that of 7,324 documented cases in China, only one outbreak occurred outside—during a conversation among several men in a small village. The risk of infection indoors is almost 19 times higher than in open-air environments, according to another study from researchers in Japan.

Appropriately, just about every public indoor space in America has been shut down or, in the case of essential businesses such as grocers, adapted for social-distancing restrictions. These closures have been economically ruinous, transforming large swaths of urban and suburban life into a morbid line of darkened windows.

There’s no doubting the genius of “Make America Great Again,” Donald Trump’s 2016 election slogan. While the campaign’s operations were chaotic, the candidate volatile, and many of the policies contradictory, the phrase offered a clear, coherent summary of Trump’s redemptive vision for the country. It was a testament to Trump’s decades as a master marketer, though he took the phrase from Ronald Reagan; the president is a magpie, clever at borrowing and attracted to shiny things.

The one danger of a slogan so simple is that it offers a simple test for voters: After four years, Trump has either made America great again or he hasn’t. The president long ago made the logical choice to assert that he had, even before he had any evidence to back it up. Days before he’d been inaugurated, he told a Washington Post reporter that his reelection slogan would be “Keep America Great,” though he has repeatedly re-announced it as “new,” garnering credulous press attention each time. The phrase wasn’t quite as punchy as its predecessor—there was a reason Trump continued to employ MAGA, even in the self-proclaimed KAG era—and it raised the question of what the point of a second term would be, if he’d already made America great, but it sufficed for a while.

If you were an adherent, no one would be able to tell. You would look like any other American. You could be a mother, picking leftovers off your toddler’s plate. You could be the young man in headphones across the street. You could be a bookkeeper, a dentist, a grandmother icing cupcakes in her kitchen. You may well have an affiliation with an evangelical church. But you are hard to identify just from the way you look—which is good, because someday soon dark forces may try to track you down. You understand this sounds crazy, but you don’t care. You know that a small group of manipulators, operating in the shadows, pull the planet’s strings. You know that they are powerful enough to abuse children without fear of retribution. You know that the mainstream media are their handmaidens, in partnership with Hillary Clinton and the secretive denizens of the deep state. You know that only Donald Trump stands between you and a damned and ravaged world.

Updated at 1:36 p.m. ET on May 22, 2020.

The word I keep hearing is numbness. Not necessarily a sickness, but feeling ill at ease. A sort of detachment or removal from reality. Deb Hawkins, a tech analyst in Michigan, describes the feeling of being stuck at home during the coronavirus pandemic as “sleep-walking through my life” or “wading through a physical and mental quicksand.” Even though she has been living in what she calls an “introvert heaven” for the past two months—at home with her family, grateful they are in good health—her brain has dissented. “I feel like I have two modes,” Hawkins says: “barely functioning and boiling angry.”  

Many people are even more deeply unmoored. Michael Falcone has run an acupuncture clinic for the past decade in Memphis, Tennessee. When he temporarily shut it down, the toll on his mental health was immediate. “I went into a pretty instant depression when I realized that my actual purpose was disintegrating,” he says. He began spending his days staring at his bookshelves. Falcone and I have exchanged emails for weeks now, and while his notes have been full of whimsical musings about adjusting to home life, one included a jarring line: “I’ve lost faith in myself. I don’t know if I can actually justify taking up space and resources.”

There was supposed to be a peak. But the stark turning point, when the number of daily COVID-19 cases in the U.S. finally crested and began descending sharply, never happened. Instead, America spent much of April on a disquieting plateau, with every day bringing about 30,000 new cases and about 2,000 new deaths. The graphs were more mesa than Matterhorn—flat-topped, not sharp-peaked. Only this month has the slope started gently heading downward.

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This pattern exists because different states have experienced the coronavirus pandemic in very different ways. In the most severely pummeled places, like New York and New Jersey, COVID-19 is waning. In Texas and North Carolina, it is still taking off. In Oregon and South Carolina, it is holding steady. These trends average into a national plateau, but each state’s pattern is distinct. Currently, Hawaii’s looks like a child’s drawing of a mountain. Minnesota’s looks like the tip of a hockey stick. Maine’s looks like a (two-humped) camel. The U.S. is dealing with a patchwork pandemic.