LAS VEGAS—Swing past Caesars Palace; head up the Bellagio’s driveway, where its famous fountains are erupting to an auto-tuned Cher hit. Walk by the Dale Chihuly glass-flower ceiling above the check-in line, and the animatronic exhibit with the half-human, half-monkey figures. Head past the blackjack tables and the jangling slot machines and the chocolate fountain to the austere concrete corridors beyond them. There, getting wheeled around in a red metal-frame wheelchair is the 80-year-old man on whom the unity of the Democratic Party in 2020—if not the Democratic nomination—may hinge.

If he can stay alive that long.

Harry Reid, who retired in 2017 after representing Nevada for 30 years in the U.S. Senate—a dozen of them as chair of the Democratic caucus, eight of them as Senate majority leader—was supposed to be dead already; his pancreatic cancer was forecasted to prove fatal within weeks. But he’s still here, which is how I came to be talking with him, not long before Thanksgiving, in a conference room at the Bellagio, asking him why he remains the person to whom many of the Democratic presidential candidates come for advice and anointment.

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.

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.

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.”

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.”

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.

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.

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.)

For the last eight years, Nicolas and Rachel Sarah have been slowly weaning themselves off fossil fuels. They don’t own a refrigerator or a car; their year-old baby and four-year-old toddler play by candlelight rather than electricity at night. They identify as Christian anarchists, and have given an official name to their search for an alternative to consumption-heavy American life: the Downstream Project, with the motto to “do unto those downstream as you would have those upstream do unto you.”

As it turns out, exiting the system is a challenging, time-consuming, and surprisingly technical process. Here in the Shenandoahs and central Virginia, a handful of tiny communities are experimenting with what it means to reject the norms of contemporary life and exist in a radically different way. They seem to share Americans’ pervasive sense of political alienation, which arguably reached an apotheosis with the election of Donald Trump: a sense of division from their peers, a distrust of government. The challenges of modern politics—dealing with issues like climate change, poverty, mass migration, and war on a global scale—are so vast and abstract that it’s difficult not to find them overwhelming. But instead of continuing in passive despair, as many Americans seem to do, the people in these communities decided to overhaul their lives.

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.