Right now, there is a hole in my living room. It was not there last week. We’ve tried to cover it up, but nothing seems to work. Rearranging the furniture somehow only makes the hole grow. The space, which once radiated a hopeful glow, now feels hollow. When I stare at this hole, I begin to feel as if a light has gone out in the world. Actually, not just one, many. And that’s because they have.

I am, of course, talking about my Christmas tree (RIP).

If you live in one of the 94 million homes or apartments that purchased or displayed a tree this holiday season, then maybe you feel the same melancholy that I do now. It’s grim out there. Two weeks ago, my street was a Griswoldian wonderland with twinkling lights silhouetting the eaves of my neighbors’ houses and robust-looking conifers standing proudly in their windows. Now my street is an evergreen graveyard with damp, sickly looking pines discarded by the side of the road, half buried in the driven slush.

Saturday Night Live’s first episode of 2022 attempted to make up for the strange, empty show that ended 2021 amid the rise of the coronavirus’s Omicron variant. The cast was back, the masked audience was back, and the show, as they say, went on. But it couldn’t escape the world outside of 30 Rock’s doors.

This season has thus far blended thin political fare with dour-noted escapism, as though the pleasure of putting on a live show is more about continually agitating a bruise than finding true comedic relief. Like so many of its viewers, SNL has been waiting to turn a corner, to move past a scenario with little to laugh about. Last night’s episode felt like one long exasperated sigh. As James Austin Johnson’s Joe Biden wretchedly joked in the opening presidential address, “People got vaccinated and the pandemic got worse.”   

FLORENCE, Ariz.—Tonight, deep in the Arizona desert, thousands of people chanted for Donald Trump. They had braved the wind for hours—some waited the entire day—just to get a glimpse of the defeated former president. And when he finally appeared on stage, as Lee Greenwood played from the loudspeakers, the crowd roared as though Trump were still the commander in chief. To many of them, he is.

“I ran twice and we won twice,” Trump told his fans. “This crowd is a massive symbol of what took place, because people are hungry for the truth. They want their country back.”

Tonight’s rally was Trump’s first public event since July. On paper, the gathering was meant as his response to the anniversary of January 6, as well as an unofficial kickoff for his efforts to support Republicans in the midterm elections. But the event also served as the soft launch of Trump’s 2024 presidential campaign. Although he didn’t say the words, the former president seems poised to run in two years—“Make America great again again … again,” he joked to the crowd—and tonight, his message was as clear as it was dishonest: He didn’t lose to Joe Biden in 2020, and he’ll spend the next year working to elect Republicans who agree.

Adam McKay’s disaster satire Don’t Look Up is many things at once: a parable of our distracted society, a primal scream of a warning, and a broad comedy from the writer/director of Anchorman. Such a delicate balance has made the star-studded Netflix film a polarizing movie.

Critics, audiences, and activists have both savaged and praised the movie, and the backlash has highlighted the difficulty of conveying an urgent message with comedy. Has political satire lost its power? Or has reality become so absurd that it’s now beyond parody?

That challenge was evident in the making of Don’t Look Up. As McKay told David Sims, he wrote the story about a planet-killing comet (and our society’s inability to act collectively to stop it) as a climate-change metaphor. But after the script was done, production shut down for the pandemic and he watched the follies of a real-life disaster surpass his fictional one.

Thirty-seven minutes after sitting down to lunch, Francesca and I hugged goodbye in a strip-mall parking lot. We were both fairly certain, I think, that we would not be seeing each other again. The high-school classmate of a friend’s friend’s husband, she’d been such a promising friendship prospect: She was a professional violinist and fellow New Yorker who was writing her dissertation on pollen. But I was awkward, smiling too much and saying things like “That’s so funny” in lieu of actual laughter, while Francesca (not her real name) was overworked and seemed full of derision for Bozeman, Montana, the town to which I had just moved, and from which she and her husband were determined to flee.

After a dramatic weeklong fight with the world’s top men’s tennis player, Australia’s immigration authorities wisely decided to revoke Novak Djokovic’s visa a second time because he flouted the country’s COVID-19 policies. Although the Australian authorities and tennis officials aren’t blameless, this is a huge, self-inflicted public-relations crisis for Djokovic that has smeared his legacy.

In Disney’s latest blockbuster, Encanto, a magical family called the Madrigals have escaped the violence and chaos of their homeland by crossing a river into an enchanted paradise that endows each with wondrous gifts that they use to protect and enhance their community. As the generations go by, however, the magic of the new world starts to fade and the family buckles under the pressure of their responsibilities while struggling to maintain the illusion that everything is fine. One grandchild, we learn, has no gift at all; another worries that she cannot keep up the appearance of perfection that is crushing her from the inside out; while another, still, panics that she is losing her superhuman strength. Luisa, the strong one, sings out her fears:

Just weeks into its staggering ascent in the United States, Omicron appears to maybe, maybe, be taking its leave of a few big urban centers up and down the East Coast. Documented coronavirus infections seem to be leveling off, even falling, in cities such as Boston, New York, and Washington, D.C.—a possible preview of what the country’s been waiting on tenterhooks for: the beginning of the end of the Omicron wave.

The pattern fits with what recent models predict. National case counts will hit a maximum this month, maybe a touch later. (Some think that the peak is already behind us.) It’s all a bit squishy still, but epidemiologists such as Justin Lessler of the University of North Carolina at Chapel Hill are “pretty confident” that the American apex is nigh. Peak could then give way to plunge, as it did in South Africa. It’s tempting, then, to imagine Omicron loosening its vise grip on the United States just as quickly as it latched on. February will be better; March, rosier still. Americans will get something like a Hot Post-Omi Spring.

Yellowjackets, the Showtime series about a high-school girls’ soccer team stranded in the wilderness after a plane crash, can be extremely stressful to watch. The drama, which ended its first season tonight and has been renewed for a second, is relentlessly violent, and the writers seem to delight in attacking or killing off the most lovable characters. The aggressively knotty narrative braids together two timelines: One, set in 1996, follows the squad after the accident and involves drug-induced visions, a close encounter with a bear, and—eventually, per a flash-forward—a cannibalistic cult led by a masked character wearing antlers on her head. The other, set in the present day, tracks the survivors as middle-aged adults who get targeted by a blackmailer. At times, Yellowjackets’ many preposterous story beats have risked derailing the show.

Recently I met the astronomer Pascal Oesch, an assistant professor at the University of Geneva. Professor Oesch and his colleagues share the distinction of having discovered the most distant known object, a small galaxy called GNz-11. That galaxy is so far away that its light had to travel for 13 billion years to get from there to here. I asked Professor Oesch if he felt personally connected to this tiny smudge on his computer screen. Does this faint blob feel like part of nature, part of the same world of Keats and Goethe and Emerson, where “vines that round the thatch-eves run; to bend with apples the moss’d cottage-trees”?  

Oesch answered that he looks at such distant smudges every day. Sure, they’re part of the universe, he said. But consider the abstraction (thought I). A few exhausted photons of light from GNz-11 dropped on a photoelectric detector aboard a satellite orbiting Earth, produced a tiny electrical current that was translated into 0s and 1s, which were beamed to Earth in a radio wave. That information was then processed in data centers in New Mexico and Maryland and eventually landed on Professor Oesch’s computer screen in Geneva. These days, professional astronomers rarely look at the sky through the lens of a telescope. They sit at computer screens.