In the early phases of the pandemic, as the coronavirus spread in the United States and doctors and pharmacists and supermarket clerks continued to work and risk infection, some commentators made reference—metaphorical reference, fast and loose and over the top—to ritual human sacrifice. The immediate panicky focus on resuming business as usual in order to keep the stock market from crashing was the equivalent of “those who offered human sacrifices to Moloch,” according to the writer Kitanya Harrison. That first summer, as Republicans settled into their anti-testing, anti-lockdown, anti-mask, nothing-to-worry-about orthodoxy, Representative Jamie Raskin, a Democrat, said it was “like a policy of mass human sacrifice.” The anthropology professor Shan-Estelle Brown and the researcher Zoe Pearson wrote that people who continued to do their jobs outside their homes were essentially victims of “involuntary human sacrifice, made to look voluntary.” Meanwhile, people on the right likewise compared the inconvenience of closing down public places to ritual sacrifice.

Of the three Bowlin sisters, Margaret, the middle one, was the first to show signs. She began having seizures as a toddler. Then the eldest, Bettina, had a brief and mysterious episode of weakness in her right hand. In 1986, as an adult, she had a two-week migraine that got so bad, she couldn’t hold food in her mouth or money in her right hand. The youngest, Susan, felt fine, but her parents still took her for an exam in 1989, when she was 19. A brain scan found abnormal clusters of blood vessels that, as it turned out, were in her sisters’ brains too. These malformations in the brain can be silent. But they can also leak or, worse, burst without warning, causing the seizures, migraines, and strokelike symptoms Bettina and Margaret experienced. If the bleeding in the brain gets bad enough, it can be deadly.

Old songs now represent 70 percent of the U.S. music market, according to the latest numbers from MRC Data, a music-analytics firm. Those who make a living from new music—especially that endangered species known as the working musician—should look at these figures with fear and trembling. But the news gets worse: The new-music market is actually shrinking. All the growth in the market is coming from old songs.

The 200 most popular new tracks now regularly account for less than 5 percent of total streams. That rate was twice as high just three years ago. The mix of songs actually purchased by consumers is even more tilted toward older music. The current list of most-downloaded tracks on iTunes is filled with the names of bands from the previous century, such as Creedence Clearwater Revival and The Police.

As some would have it, former President Donald Trump’s attempt to steal the 2020 election was really no big deal.

“January 6 barely rates as a footnote, really. Not a lot happened that day,” Tucker Carlson said on the anniversary of the insurrection. “If you think about it, the presidential election was not overturned, the Capitol was not destroyed. The government wasn’t toppled.” Former Vice President Mike Pence said in October that it was just “one day in January,” and accused the press of using that “one day to try and demean the character and intentions of 74 million Americans who believe we could be strong again and prosperous again and supported our administration in 2016 and 2020.” John Eastman, the author of a memo that laid out a strategy to steal the election in Congress, has on occasion disavowed his own work, telling National Review, “Anybody who thinks that that’s a viable strategy is crazy.”

Last Thursday, a group of 20 mothers in Boston met up outside a local high school. Their goal wasn’t to socialize, drink wine, or even share COVID-related tips. They were there for one reason and one reason only: to stand in a circle—socially distanced, of course—and scream.

“I knew that we all needed to come together and support each other in our rage, resistance and disappointment,” Sarah Harmon, the group’s organizer, wrote on Instagram before the gathering. Ironically, some 20 other moms who had RSVP’d “yes” had to cancel at the last minute because they or other family members had COVID, Harmon told me.

When mothers feel there is no more appealing way to spend an evening than to yell into the frigid January darkness, something is very, very wrong. Parents in the United States are living through a universally terrible moment. For two years, we’ve been spending each and every day navigating an ever-changing virus that’s threatening not only our well-being but our livelihoods. The situation has reached a fever pitch during this wave, when we’re expected to function normally even though nothing is normal and none of the puzzle pieces in front of us fit together.

America’s tidal wave of Omicron infections seems to have crested, but it’s still in a bad place. Even as coronavirus cases are beginning to tick down nationwide, so many Americans have tested positive for COVID since Christmas Day that they account for a quarter of all cases recorded in the United States. Thanks to the immunity America has—through shots and prior infections—most of these people came out of it largely unscathed. And they got an immunity bump too: We’ve long known that an infection with COVID spurs the body to churn out more antibodies.

While public-health officials are still urging all Americans to be cautious with so much of the virus around, guidance for people who have already recovered from COVID this winter is sorely lacking. That has left Omicron survivors to deal with a confusing question: What now? I reached out to a handful of epidemiologists, and they all agreed that getting Omicron isn’t a golden ticket to normalcy. However, the immune boost from an Omicron infection can still be paired with other precautions to safely go about many activities. Keeping a few pandemic principles in mind can help make everyday decisions a little less fraught.

The moments I felt most viscerally in Maggie Gyllenhaal’s The Lost Daughter, an intermittently dreamy and menacing exploration of maternal ambivalence, weren’t when Leda (played by Olivia Colman) confesses, weeping, that as a young mother she abandoned her children, or when a worm wriggles out of the mouth of the doll that Leda has stolen, as if to literalize the movie’s themes of love and caretaking corrupted. Rather, two other scenes felt jarring to me: one when Leda is sitting in blissful solitude on a beach, and another when she’s at a cinema watching The Last Time I Saw Paris. In both, Leda’s contented absorption is rudely interrupted by loud, thoughtless groups who commandeer her space and disrupt her peace.

Six years ago, on a Saturday afternoon, I got a call from a law-enforcement officer telling me that my husband had died in a bike wreck during a charity race for cancer research. I had a toddler and was pregnant with my second daughter at the time. Three days later, I spoke at a memorial for Jake. The eulogy wasn’t just a tribute to him, but a mission statement for me. I asked that my friends and family hold me accountable for living life unafraid. A traumatic loss meant that I was primed to see threats everywhere. But I knew that my big fears would make the lives of my children small if I couldn’t control them. They deserved more from me than that.

I think about this pledge often as year two of the pandemic comes to a close. I had to relearn my bravery after my husband died. A lot of people will have to do the same now that we’re entering what looks like the endemic stage of COVID.

On September 13, I took my first plane trip in 18 months: Kansas City to Boise with a layover in Denver. The trip itself was largely uneventful, with one exception. After I boarded my connecting flight in Denver, a pilot announced that we would be briefly delayed because Air Force One was also en route to Boise. President Biden was responding to yet another record-setting wildfire season, during which 5.3 million acres of the U.S., an area the size of New Jersey, had already burned. “We can’t ignore the reality that these wildfires are being supercharged by climate change,” he would say later that day. “It isn’t about red or blue states. It’s about fires. Just fires.”

The wildfires had both everything and nothing to do with my trip to Boise and, from there, to the Salmon-Challis National Forest, a five-hour drive northeast of the city. For me, the area’s most immediate draw was cobalt, a hard, silvery-gray metal used to make heat-resistant alloys for jet engines and, more recently, most of the lithium-ion batteries for electric vehicles. The Salmon-Challis sits atop what is known as the Idaho Cobalt Belt, a 34-mile-long geological formation of sedimentary rock that contains some of the largest cobalt deposits in the country. As the global market for lithium-ion batteries has grown—and the price of cobalt along with it—so has commercial interest in the belt. At least six mining companies have applied for permits from the U.S. Forest Service to operate in the region. Most of these companies are in the early stages of exploration; one has started to build a mine. In Idaho, as in much of the world, the clean-energy revolution is reshaping the geography of resource extraction.

Like a lot of singers, Piper Rockelle has a link at the top of her TikTok profile page where her over 8 million followers can check out her music. But instead of sending them to YouTube or Spotify, the link opens up an external landing page crammed with a little bit of everything. Splashed across a looping clip of Rockelle is a stack of hyperlinked blocks that direct fans to her merch store, her tour schedule, and her latest music video. You’ll also find a “love jar” that lets her accept tips, an “Ask Me Anything” form, an app where you can pay to pitch a dare for Rockelle to complete, and a private social feed that fans can unlock by either sending money or correctly answering a trivia question.