For Ryan Rucker, a dad in Vacaville, California, the weekly summons comes on Wednesday mornings, usually around seven. For Rosanne Sweeting on Grand Bahama island, in the Bahamas, it’s twice a week—Mondays and Thursdays, anytime from 6 to 8:30 a.m.—and for Whitney Schlander in Scottsdale, Arizona, it’s every Tuesday morning at half-past seven.

At these times, the quiet of the morning is broken by the beep beep beeping of an approaching garbage truck—and broken further when their kids start hollering, begging to be escorted outside to wave or just watch in awe as the truck collects and majestically hauls away the household trash. Rucker’s daughter Raegan, 3, takes her stuffed animals outside with her to watch the pickup. Cassidy Sweeting, 4, enlists her mom’s help to deliver granola bars and water bottles to the three trash collectors. Finn Schlander, 3, invited the neighborhood garbage-truck driver to his birthday party. (Ultimately, he was unable to attend, but the party had garbage-truck decorations nonetheless.)

The internet has some feedback on Peloton’s holiday ad campaign. The fitness-tech company, famous for its $2,400, Wi-Fi-enabled stationary bikes that let riders stream spin classes, debuted a new television commercial in mid-November, but it didn’t become infamous until earlier this week, when Twitter got ahold of it.

In the ad, a young mom gains confidence in the year after her husband buys her a Peloton for Christmas—or, at least, that’s what the ad seems to be aiming for. The commercial documents the woman (who is also documenting herself, via her phone’s front-facing camera) while she gets up early day after day to exercise or jumps on the bike after work. At the end, she presents the video of her exercise journey to her husband. “A year ago, I didn’t realize how much this would change me,” she tells him. “Thank you.”

Shortly after I met my wife, Cindy, in 1989—she was living in New York City at the time, while I was living in Northern Virginia—she told me about a new church she was attending in Manhattan: Redeemer Presbyterian. The young minister, she told me, was “the best pastor in America.”

His name was Timothy J. Keller.

Since that time Keller, 69, has become one of the most consequential figures in American Christianity. When he founded Redeemer in the fall of 1989, fewer than 100 people attended; in the aftermath of the attacks on September 11, 2001, Keller was preaching in multiple services in three different venues each Sunday to about 5,000 people—mostly young, single, professionally and ethnically diverse. He has written about two dozen books, several of them best sellers. And unlike that of many popular ministers, his reach extends far beyond the Christian subculture.

The great irony of Amy Sherman-Palladino’s television shows is that the dialogue gushes forth with the insistence of a burst hydrant, and yet the most beguiling moments are the ones in which no one speaks at all. Midway through the third season of Amazon’s The Marvelous Mrs. Maisel, a man and a woman whose chemistry has smoldered almost since the show’s inception find themselves alone, in the early hours of the morning, at a hotel. They gaze at each other. They each glance meaningfully through the open door toward a bed. They say nothing. The energy is so heightened and so loaded with expectation that I couldn’t have stopped watching if the room around me had suddenly caught on fire.

The five hours or so that preceded it, though, had mostly the opposite effect, where any scenes without Rachel Brosnahan’s unsinkable comic Midge Maisel—and even a few with her—were either inert or insufferable. What used to feel like Sherman-Palladino trademarks now come across as tics: the barrage of inane chatter; the superficial stereotyping; the overreliance on spectacle without substance, like a dinner composed entirely of cake pops. More vexing than anything, though, is how defiantly The Marvelous Mrs. Maisel refuses to have stakes. Everything plays out in the same major key. Everything—lost children, homelessness, divorce, social injustice—is just a joke, bedazzled and glib and gorgeous. This is a series so vacantly uplifting, it’s managed to transfigure Lenny Bruce into Prince Charming.

If the grassroots right wants to “drain the swamp” in Washington, D.C., it can’t ignore the suspicious behavior of Rudy Giuliani. Here’s one red flag: Wealthy, powerful people tend to pay their lawyers top dollar. But as Donald Trump’s personal attorney, Giuliani works for free. In fact, an attorney representing Giuliani’s wife in divorce proceedings told the New York Post that he’s losing money. “Not only does he work for free, but all of his expenses every time he goes down to Washington, D.C., every time he travels for the president, it comes out of his own pocket,” the divorce attorney explained, “and he won’t say how much it’s costing him.”

Why has the former New York City mayor taken on a billionaire as a charity case? It’s not clear, and neither is the nature of the work he’s done relating to Ukraine, a subject of interest in the House impeachment inquiry. At times, Giuliani has described his Ukraine meddling as heroically public-spirited, declaring that “I’m not acting as a lawyer.” He once told a Fox News host, “I wasn’t operating on my own; I was operating at the request of the State Department.” Yet on a different occasion he said, “This isn’t foreign policy,” but help for “my client.”

Just over a decade ago, Matt Eich started photographing rural Ohio. Largely inhabited by what is now known as the “Forgotten Class” of white, blue-collar workers, Eich found himself drawn to the proud but economically abandoned small towns of Appalachia. Thanks to grants from the Economic Hardship Reporting Project and Getty Images, Eich was able to capture the family life, drug abuse, poverty, and listlessness of these communities. “Long before Trump was a player on the political scene, long before he was a Republican, these people existed and these problems existed,” Eich said. His new book, Carry Me Ohio, published by Sturm and Drang, is a collection of these images and the first of four books he plans to publish as part of The Invisible Yoke, a photographic meditation on the American condition. Even with a deep knowledge of the region, Eich was unprepared for the fury and energy that surrounded the election this year. “The anger is overpowering,” he said. “I knew what was going on, and I’m still surprised. I should have listened to the pictures.”  

SOCHI, Russia—Gazing up at the bust of Joseph Stalin, the young boy listened silently as his mother squatted next to him, whispering the Soviet dictator’s story into his ear. The pair studied the black-colored sculpture, among many of Stalin in this city’s history museum (just one, apparently, is not enough). “He built this city,” the mother told the child, who stared admiringly at Stalin’s signature moustache. “He was like a czar.”

To some extent, that is true. Though Russian intellectuals and poets had long found refuge in this Black Sea port, it was Stalin who ordered its development, turning it into a resort city. His vision was to create a Soviet Riviera, replete with grand botanical gardens and enormous, well-equipped hotels.

It was the best of times, it was the worst of times. Television in 2019 offered up sweet birthday babies and hot priests; exposed nuclear cores and examined injustices; giant octopuses and the king of edible leaves, His Majesty the Spinach. It was a year in which more than 500 original scripted series were estimated to air—a new record signaling a television landscape that’s more abundant but also more fragmented than ever.

With that in mind, this year’s “best of” list, like last year’s, tries to recognize shows that did specific things particularly well. Some were brand new; some have already been canceled. But most of them came into being because someone took a chance on an odd idea, a risky concept, or a distinctive voice. As the streaming wars heat up, none of these series feels like a safe bet, which is precisely what makes them so worthwhile to watch.

In the 1960s, doctors counting the number of chromosomes in human white blood cells noticed a strange phenomenon. Frequently—and more frequently with age—the cells would be missing the Y chromosome. Over time, it became clear this came with consequences. Studies have linked loss of the Y chromosome in blood to cancer, heart disease, and other disorders.

Now a new study—the largest yet of this phenomenon—estimates that 20 percent of 205,011 men in a large genetic database called the UK Biobank have lost Y chromosomes from some detectable proportion of their blood. By age 70, 43.6 percent of men had the same issue. It’s unclear exactly why, but the authors think these losses might be the most glaring sign of something else going wrong inside the bodies of these men: They are allowing mutations of all kinds to accumulate, and these other mutations could be the underlying links to cancer and heart disease.

A long time ago, a man of resourceful and relentless kindness saw something in me that I didn’t see in myself. He trusted me when I thought I was untrustworthy, and took an interest in me that went beyond my initial interest in him. He was the first person I ever wrote about who became my friend, and our friendship endured until he died. Now a movie has been made from the story I wrote about him, which is to say “inspired by” the story I wrote about him, which is to say that in the movie my name is Lloyd Vogel and I get into a fistfight with my father at my sister’s wedding.

I did not get into a fistfight with my father at my sister’s wedding. My sister didn’t have a wedding. And yet the movie, called A Beautiful Day in the Neighborhood, seems like a culmination of the gifts that Fred Rogers gave me and all of us, gifts that fit the definition of grace because they feel, at least in my case, undeserved.