Every week for the eighth and final season of Game of Thrones, three Atlantic staffers have been discussing new episodes of the HBO drama. Because no screeners were made available to critics in advance this year, we’ll be posting our thoughts on the series finale in installments.

The bet was on, and it was over the fate of humanity. On one side was the Stanford biologist Paul R. Ehrlich. In his 1968 best seller, The Population Bomb, Ehrlich insisted that it was too late to prevent a doomsday apocalypse resulting from overpopulation. Resource shortages would cause hundreds of millions of starvation deaths within a decade. It was cold, hard math: The human population was growing exponentially; the food supply was not. Ehrlich was an accomplished butterfly specialist. He knew that nature did not regulate animal populations delicately. Populations exploded, blowing past the available resources, and then crashed.

In his book, Ehrlich played out hypothetical scenarios that represented “the kinds of disasters that will occur.” In the worst-case scenario, famine rages across the planet. Russia, China, and the United States are dragged into nuclear war, and the resulting environmental degradation soon extinguishes the human race. In the “cheerful” scenario, population controls begin. Famine spreads, and countries teeter, but the major death wave ends in the mid-1980s. Only half a billion or so people die of starvation. “I challenge you to create one more optimistic,” Ehrlich wrote, adding that he would not count scenarios involving benevolent aliens bearing care packages.

To feel relief at my mother’s being dead was once unthinkable, but then the news came from Ireland. It would have crushed her. An immigrant’s daughter, my mother lived with an eye cast back to the old country, the land against which she measured every virtue. Ireland was heaven to her, and the Catholic Church was heaven’s choir. Then came the Ryan Report.

Not long before The Boston Globe began publishing its series on predator priests, in 2002—the “Spotlight” series that became a movie of the same name—the government of Ireland established a commission, ultimately chaired by Judge Sean Ryan, to investigate accounts and rumors of child abuse in Ireland’s residential institutions for children, nearly all of which were run by the Catholic Church.

In 1996, a group of European researchers found that a certain gene, called SLC6A4, might influence a person’s risk of depression.

It was a blockbuster discovery at the time. The team found that a less active version of the gene was more common among 454 people who had mood disorders than in 570 who did not. In theory, anyone who had this particular gene variant could be at higher risk for depression, and that finding, they said, might help in diagnosing such disorders, assessing suicidal behavior, or even predicting a person’s response to antidepressants.

Back then, tools for sequencing DNA weren’t as cheap or powerful as they are today. When researchers wanted to work out which genes might affect a disease or trait, they made educated guesses, and picked likely “candidate genes.” For depression, SLC6A4 seemed like a great candidate: It’s responsible for getting a chemical called serotonin into brain cells, and serotonin had already been linked to mood and depression. Over two decades, this one gene inspired at least 450 research papers.

At first glance, the hagfish—a sinuous, tubular animal with pink-grey skin and a paddle-shaped tail—looks very much like an eel. Naturalists can tell the two apart because hagfish, unlike other fish, lack backbones (and, also, jaws). For everyone else, there’s an even easier method. “Look at the hand holding the fish,” the marine biologist Andrew Thaler once noted. “Is it completely covered in slime? Then, it’s a hagfish.”

Hagfish produce slime the way humans produce opinions—readily, swiftly, defensively, and prodigiously. They slime when attacked or simply when stressed. On July 14, 2017, a truck full of hagfish overturned on an Oregon highway. The animals were destined for South Korea, where they are eaten as a delicacy, but instead, they were strewn across a stretch of Highway 101, covering the road (and at least one unfortunate car) in slime.

To the six women currently running in the 2020 presidential race, I offer this advice: Study German Chancellor Angela Merkel, the world’s most successful living politician, on the basis of both achievement and longevity. Now in her 14th year as chancellor of Europe’s powerhouse, Merkel has upended the rules of the male-dominated German political culture, and transformed her country along the way.

Without fanfare, Merkel made German society friendlier to the ambitions of women. Merkel’s handpicked successor to lead the Christian Democratic Union is a woman, there are six other women in her cabinet, and women abound in her circle of advisers. Alexander Gauland, the leader of Germany’s far-right political party AfD, recently asked, “Are there no men left in the CDU?” The party still has quite a few men; they just don’t run it any longer.

In my long career as an academic jack-of-all-trades, I sometimes teach law students Jurisprudence—that is, Philosophy of Law. The course begins with the question “What is law?” and its corollary, “What is lawlessness?”

The latter comes in two flavors. The first is anarchy—Hobbes’s “war of all against all,” a Mad Max moonscape in which only stealth and brute force provide even a semblance of safety. Such situations existed for millennia and, though relatively rare, exist in remote parts of the globe today.

But there is an authoritarian lawlessness that is far more common in the 21st century, and next time I teach the course, I will have the most precise example of this second version I have ever seen: the dispute over 26 U.S. Code § 6103(f)(1), which reads: “Upon written request from the chairman of the Committee on Ways and Means of the House of Representatives, the chairman of the Committee on Finance of the Senate, or the chairman of the Joint Committee on Taxation, the Secretary [of the Treasury] shall furnish such committee with any return or return information specified in such request,” subject only to a requirement that the return be considered in closed session.

An unassuming English kid with glasses obtains a pet owl, and takes up his preordained destiny to enter a secret world of magic hidden in plain sight—brought to you by one of the world's most successful fantasy authors. That thumbnail summary of course describes Harry Potter, J.K. Rowling's hit series first published in 1997, which is still a massive pop-culture phenomenon today. But the description also fits The Books of Magic, a DC Comics miniseries published 25 years ago this month by Neil Gaiman. Though largely forgotten, the series foretold much of pop-culture's current (and seemingly insatiable) appetite for the superhero and fantasy genres.

The Books of Magic's fall into obscurity seems on the surface like a surprising failure of marketing. Tim Hunter, the 12-year-old star of the series, is even visually a dead ringer for Harry Potter; you'd almost believe the assorted artists (John Bolton, Scott Hampton, Charles Vess, and Paul Johnson) had been getting time-travel bulletins from seven years down the road. (A magic bespectacled tween protagonist with an owl has the potential to become a hit, as everyone now knows.) Neil Gaiman was already a celebrated writer back in 1990, and the ensuing years confirmed his ability to write massive bestsellers such as American Gods and Coraline. So why did Harry Potter become a household name while Tim Hunter has remained a random tidbit of esoteric geek knowledge?

Just how bad are things between the United States and China? Over an evening beer in Beijing this week, a friend and I debated which prominent American company China would whack first. It’s a serious question—and the answer could be the next ugly step in the escalating economic dispute between the two powers.

The standard line from President Donald Trump and those who support his get-tough approach toward Beijing is that because China sells more to the U.S. than the other way around, Washington has the upper hand in its game of tariffs. “China buys MUCH less from us than we buy from them,” Trump recently tweeted, “so we are in a fantastic position.”

Statistically, that’s true: The U.S. exported only $120 billion worth of goods to China in 2018, compared with the $540 billion it imported. Beijing has a lot less stuff to tax, so the amount of damage it can inflict on the American economy and business through tariffs is much more limited. That view seemed confirmed when Beijing announced a surprisingly moderate package of new duties in retaliation for Trump’s latest broadside. While Washington hiked tariffs from 10 percent to 25 percent on $200 billion of Chinese products, and is threatening to slap on even more, Beijing responded by increasing tariffs on only about $60 billion of American goods.

Saturday Night Live opened the last episode of its 44th season with a sketch featuring Alec Baldwin as Donald Trump, sitting in the Oval Office, telling a few jokes, and then singing a song with a coterie of characters from his administration. That might sound like par for the course for this show, but it was actually Baldwin’s first appearance in character since March, when SNL mocked the president’s reaction to the Mueller report. Almost three years into a presidency one could charitably describe as newsworthy, the best this show could come up with for a season finale was Trump singing Queen’s “Don’t Stop Me Now” and shimmying behind his desk, as if daring the audience to, well, stop him.

The brewing news going into last night’s episode was that Kate McKinnon, the indisputable star of this era of SNL, might be departing for greener pastures. Her contract is up as of now and she may be ready to move on to movie stardom like countless breakout actors before her. But if this was her last hurrah, there was little sign of it, and certainly no grand send-off like the ones Kristen Wiig or Bill Hader got. Instead, there was the same slightly lackluster mix of topical material and unmemorable goofy sketch writing that has defined the show in recent years. SNL has survived for so many decades by knowing when to pull the trigger on a revamp, and Baldwin’s dismal karaoke work last night was the surest sign yet that something needs to change.