Something very strange has been happening in Missouri: A hospital in the state, Ozarks Healthcare, had to create a “private setting” for patients afraid of being seen getting vaccinated against COVID-19. In a video produced by the hospital, the physician Priscilla Frase says, “Several people come in to get vaccinated who have tried to sort of disguise their appearance and even went so far as to say, ‘Please, please, please don’t let anybody know that I got this vaccine.’” Although they want to protect themselves from the coronavirus and its variants, these patients are desperate to ensure that their vaccine-skeptical friends and family never find out what they have done.

Missouri is suffering one of the worst COVID-19 surges in the country. Some hospitals are rapidly running out of ICU beds. To Americans who rushed to get vaccinated at the earliest opportunity, some Missourians’ desire for secrecy is difficult to understand. It’s also difficult to square with the common narrative that vaccine refusal, at least in conservative areas of the country, is driven by a lack of respect or empathy from liberals along the coasts. “Proponents of the vaccine are unwilling or unable to understand the thinking of vaccine skeptics—or even admit that skeptics may be thinking at all,” lamented a recent article in the conservative National Review. Writers across the political spectrum have urged deference and sympathy toward holdouts’ concerns about vaccine side effects and the botched CDC messaging about masking and airborne transmission early in the pandemic. But these takes can’t explain why holdouts who receive respect, empathy, and information directly from reliable sources remain unmoved—or why some people are afraid to tell their loved ones about being vaccinated.

After the end of the world, there will be birdsong. I used to imagine this when everything was going awry. I would lie in bed in my college dorm room and listen to the lone mockingbird who sang all night outside my window in the spring months. I was worried about something or other; he was getting on with things. It’s what birds do. They have a knack for it. In the Book of Genesis, after the devastation of the Earth by God’s cataclysmic flood, Noah releases from his ark a dove; he knows that the trial has ended when the bird does not return, having alighted somewhere out in the damp and dreary world, the first land-dwelling creature to begin the work of carrying on.

What else is there to do? When COVID-19 began to spread in the United States, late in the winter of 2020, I told myself as much. In plagues, as in life, there is a morally arbitrary hierarchy of luck, and it didn’t take long for me to realize that my family and I were among the lucky ones. I was in my late 20s, hale and hearty, my husband the same plus a couple of years. Our children were young—our baby was, in fact, under a year old, something I eventually mentioned in a meekly anxious aside to a doctor I was interviewing for a story on the emerging pandemic. He acknowledged certain risks in the way that doctors do, and then said: “Don’t worry. Kids are kicking ass with this thing.” I was both comforted and chastened; this wasn’t mine to panic about. The best I could do for those in peril was to carry on.

We’re halfway through the first summer of full-capacity crowds at American arenas and nightclubs after pandemic-induced hibernation. Have you attended a glorious, mythmaking concert to mark the occasion?  Perhaps Foo Fighters reopening Madison Square Garden gave you chills, or maybe you air-tromboned to the band Chicago at New Jersey’s first big comeback show (NJ.com’s review: “Enjoyment came in many forms Thursday night”).

Or perhaps you’ve had a less lovely live-music experience. One recent viral news story described impalement and alleged strangulation at a rave in Kentucky. Another, from this past weekend, featured someone throwing a shoe at DaBaby. When I went to see a DJ set in my neighborhood, a disturbingly intoxicated guy danced up to me, grabbed my water bottle, guzzled everything in it, and, like some sort of anti-hydration dragon, immediately and theatrically spit it out. Then there’s the COVID of it all: more than 1,000 infections traced to a Dutch music festival, a Foo Fighters’ team member testing positive, talk of possible new shutdowns and cancellations in response to the Delta variant.

When you contemplate the end of democracy in America, what kind of person do you think will bring it about? Maybe you picture a sinister billionaire in a bespoke suit, slipping brown envelopes to politicians. Maybe your nightmare is a rogue general, hijacking the nuclear football. Maybe you think of a jackbooted thug leading a horde of men in white sheets, all carrying burning crosses.

Here is what you probably don’t imagine: an affable, self-made midwesterner, one of those goofy businessmen who makes his own infomercials. A recovered crack addict, no less, who laughs good-naturedly when jokes are made at his expense. A man who will talk to anyone willing to listen (and to many who aren’t). A philanthropist. A good boss. A patriot—or so he says—who may well be doing more damage to American democracy than anyone since Jefferson Davis.

Does my name belong to me? Does my face? What about my life? My story? Why is my name used to refer to events I had no hand in? I return to these questions again and again because others continue to profit off my identity, and my trauma, without my consent. Most recently, there is the film Stillwater, directed by Tom McCarthy and starring Matt Damon and Abigail Breslin, which was, in McCarthy’s words, “directly inspired by the Amanda Knox saga.” How did we get here?

In the fall of 2007, a British student named Meredith Kercher was studying abroad in Perugia, Italy. She moved into a little cottage with three roommates—two Italian law interns, and an American girl. Less than two months into her stay, a young man named Rudy Guede, an immigrant from the Ivory Coast, broke into the apartment and found Meredith alone. Guede had a history of breaking and entering. A week prior, he had been arrested in Milan while burglarizing a nursery school, and was found carrying a 16-inch knife. He was released. A week later, he raped Meredith and stabbed her in the throat, killing her. In the process, he left his DNA in Meredith’s body and throughout the crime scene. He left his fingerprints and footprints in her blood. He fled to Germany immediately afterward, and later admitted to being at the scene.

Mission control in Houston first noticed it Thursday morning.

The International Space Station was drifting. The station is always moving, of course, in a looping trajectory around Earth. But this, what mission control was seeing in the latest data, was unexpected, and unnerving. On Thursday morning, the space station was suddenly and mysteriously deviating from its course.

The massive pieces of NASA-built hardware that hold the space station in place couldn’t keep up with the motion, and within minutes, the station had been thrown out of its usual orientation.

NASA quickly turned to Roscosmos, Russia’s space agency. To counter the shift, Moscow’s mission control commanded one of its modules on the space station to ignite its engines, then instructed a cargo ship to fire its thrusters too. Inside the station, astronauts reconfigured important systems. Twice, ground control lost communications with the crew for several minutes. The longer the space station remained off track, the more scrambled its operations, including the communication system and solar panels, could become.

Stillwater’s premise is simple: What if you were Amanda Knox’s father? This Matt Damon–starring project from the director Tom McCarthy is only loosely based on reality, but the dilemma facing roughneck Oklahoma dad Bill Baker (played by Damon) has the same sensational hook: His daughter is imprisoned in Europe after being found guilty of murdering her roommate in a splashy trial. Most viewers will remember that Knox was ultimately exonerated, and might expect Stillwater to be about a similar quest for justice. And it is … until it isn’t.

Read: Who owns Amanda Knox?

This is McCarthy’s theatrical follow-up to the Oscar Best Picture–winning Spotlight (he did, in between, make a children’s film for Disney+), and while it has some of the sober fact-finding of that great film, it is more reminiscent of earlier McCarthy works such as Win Win and The Visitor—subtle, well-acted character dramas that take surprising narrative turns. Much of Stillwater’s opening act follows Bill’s amateurish efforts to revive his daughter’s closed case in Marseille, despite not speaking French and having no background in criminal justice. But McCarthy’s excellent, if sprawling, script is more interested in the humans behind the headlines and the messy ways people try to reconcile their grief and guilt after indescribable trauma.

Every striver who ever slipped the rank of their birth to ascend to a higher order has shared the capacity to ingratiate themselves with their betters. What the truly exceptional ones have in common is the ability to connect not only with their superiors but also with their peers and inferiors. And only the rarest talents among them can bond authentically—not just transactionally—with the people who will help them be who they want to be in the world. It’s a preternatural, almost Promethean gift if you have it, and Amy Chua does.

Thus begins the scandal dubbed “dinner-party-gate,” the latest in the annals of Amy Chua, Yale Law’s very own Tiger Mom, whose infamous defense of Supreme Court Justice Brett Kavanaugh was the “dinner-party-gate” of its day approximately three years ago. Then, as now, Chua’s differences with some denizens of her milieu played out in the press, vituperations, allegations, insinuations, and all.

And just like that, it’s Groundhog Day. The news from the CDC is bad. Yes, we have vaccines—and they are miraculously effective at preventing serious illness and death from COVID-19. Thank goodness for that. But the CDC now says that when vaccinated people are infected, they may spread the coronavirus just as easily as the unvaccinated do. On top of that, the Delta variant is tremendously contagious, much more so than the original strain of the virus. As federal health officials put it in a document first obtained by The Washington Post, we must now “acknowledge the war has changed.”

To make sense of all this, I called Gary Simon, the Walter G. Ross Professor of Medicine and director of the Division of Infectious Diseases at George Washington University’s School of Medicine and Health Sciences. Our conversation has been lightly edited and condensed for clarity.

Updated at 7:30pm ET on July 30, 2021.

Behold California, colossus of the West Coast: the most populous American state; the world’s fifth-largest economy; and arguably the most culturally influential, exporting Google searches and Instagram feeds and iPhones and Teslas and Netflix Originals and kimchi quesadillas. This place inspires awe. If I close my eyes I can see silhouettes of Joshua trees against a desert sunrise; seals playing in La Jolla’s craggy coves of sun-spangled, emerald seawater; fog rolling over the rugged Sonoma County coast at sunset into primeval groves of redwoods that John Steinbeck called “ambassadors from another time.”

This landscape is bejeweled with engineering feats: the California Aqueduct; the Golden Gate Bridge; and the ribbon of Pacific Coast Highway that stretches south of Monterey, clings to the cliffs of Big Sur, and descends the kelp-strewn Central Coast, where William Hearst built his Xanadu on a hillside where his zebras still graze. No dreamscape better inspires dreamers. Millions still immigrate to my beloved home to improve both their prospects and ours.