We’re halfway through the first summer of full-capacity crowds at American arenas and nightclubs after pandemic-induced hibernation. Have you attended a glorious, mythmaking concert to mark the occasion?  Perhaps Foo Fighters reopening Madison Square Garden gave you chills, or maybe you air-tromboned to the band Chicago at New Jersey’s first big comeback show (NJ.com’s review: “Enjoyment came in many forms Thursday night”).

Or perhaps you’ve had a less lovely live-music experience. One recent viral news story described impalement and alleged strangulation at a rave in Kentucky. Another, from this past weekend, featured someone throwing a shoe at DaBaby. When I went to see a DJ set in my neighborhood, a disturbingly intoxicated guy danced up to me, grabbed my water bottle, guzzled everything in it, and, like some sort of anti-hydration dragon, immediately and theatrically spit it out. Then there’s the COVID of it all: more than 1,000 infections traced to a Dutch music festival, a Foo Fighters’ team member testing positive, talk of possible new shutdowns and cancellations in response to the Delta variant.

A new dichotomy has begun dogging the pandemic discourse. With the rise of the über-transmissible Delta variant, experts are saying you’re either going to get vaccinated, or going to get the coronavirus.

For some people—a decent number of us, actually—it’s going to be both.

Coronavirus infections are happening among vaccinated people. They’re going to keep happening as long as the virus is with us, and we’re nowhere close to beating it. When a virus has so thoroughly infiltrated the human population, post-vaccination infections become an arithmetic inevitability. As much as we’d like to think otherwise, being vaccinated does not mean being done with SARS-CoV-2.

Post-vaccination infections, or breakthroughs, might occasionally turn symptomatic, but they aren’t shameful or aberrant. They also aren’t proof that the shots are failing. These cases are, on average, gentler and less symptomatic; faster-resolving, with less virus lingering—and, it appears, less likely to pass the pathogen on. The immunity offered by vaccines works in iterations and gradations, not absolutes. It does not make a person completely impervious to infection. It also does not evaporate when a few microbes breach a body’s barriers. A breakthrough, despite what it might seem, does not cause our defenses to crumble or even break; it does not erase the protection that’s already been built. Rather than setting up fragile and penetrable shields, vaccines reinforce the defenses we already have, so that we can encounter the virus safely and potentially build further upon that protection.

Not long ago, a New York City data analyst who had been laid off shortly after the pandemic hit told me she had filed for unemployment-insurance payments and then spent the next six months calling, emailing, and using social media to try to figure out why the state’s Labor Department would not send her the money she was owed.

A mother in Philadelphia living below the poverty line told me about her struggle to maintain government aid. Disabled herself and caring for a disabled daughter, she had not gotten all of her stimulus checks and, because she does not regularly file taxes or use a computer, needed help from a legal-aid group to make sure she would get the newly expanded child-tax-credit payments.

On the basis of its advertising, you’d be forgiven for thinking that the indie film Pig is nothing more than the latest over-the-top entry in Nicolas Cage’s bewildering Hollywood career. He’s developed from promising young talent to Oscar winner to action star to, well, living meme. In this latest work, he’s a shambling, shaggy-haired farmer whose truffle pig is abducted; the trailer makes him out to be some Old MacDonald John Wick, a hirsute avatar of vengeance bursting in on the criminal underworld and grumbling, “Where’s my pig?”

Cage’s prodigious talent as an actor has never been in doubt. From his electrifying early appearances in Moonstruck and Raising Arizona to his eventual branding as a family-friendly movie star in Disney franchises such as National Treasure, he’s always been a magnetic screen presence capable of the most distinct and surprising choices. But in the past 10 years, he has retreated from the mainstream and clogged his filmography with phoned-in cameos in blandly titled direct-to-video action movies. Pig’s promotion leans into his current reputation as an actor unafraid to scream his lines and somehow emerge with his dignity (mostly) intact—and, in doing so, undersells his actual performance. In Pig, Cage is the mournful center of a clever story about how commercialism rots the purity of artistic expression. It’s some of his best, most nuanced work in years.

May 2011

“The only thing a uterus is good for after a certain point is causing pain and killing you. Why are we even talking about this?” Nora jams a fork into her chopped chicken salad, the one she insisted I order as well. “If your doctor says it needs to come out, yank it out.” Nora speaks her mind the way others breathe: an involuntary reflex, not a choice. (Obviously, all dialogue here, including my own, is recorded from the distortion field of memory.)

“But the uterus …” I say, spearing a slice of egg. “It’s so …”

“Symbolic?”

“Yes. Don’t roll your eyes.”

“I’m not rolling my eyes.” She leans in. “I’m trying to get you to face a, well, it’s not even a hard truth. It’s an easy one. Promise me the minute you leave this lunch you’ll pick up the phone and schedule the hysterectomy today. Not tomorrow. Today.”

At the end of January, reports that yet another COVID-19 vaccine had succeeded in its clinical trials—this one offering about 70 percent protection—were front-page news in the United States, and occasioned push alerts on millions of phones. But when the Maryland-based biotech firm Novavax announced its latest stunning trial results last week, and an efficacy rate of more than 90 percent even against coronavirus variants, the response from the same media outlets was muted in comparison. The difference, of course, was the timing: With three vaccines already authorized for emergency use by the U.S. Food and Drug Administration, the nation is “awash in other shots” already, as the The New York Times put it.

All along the hallways of the Capitol complex today, members of the Capitol Police stared at their phones and nearby TV screens. Four of their fellow officers were testifying before Congress for the first time about the treatment they’d endured on January 6. They described being beaten with metal flagpoles, sprayed in the eyes with wasp repellent, and shocked with their own Tasers. One of the men cried while he spoke; a colleague patted his back. Their hands shook as they took careful sips of water.

This morning’s testimony was the first time Americans have heard such a vivid and agonizing account from the front lines of the attack—the officers’ growing panic as the mob surrounded them, how the rioters called them “traitors” and threatened to kill them with their own guns, the realization that they might die right there on the marble steps of the Capitol. But just as striking as the officers’ testimony is Republican lawmakers’ refusal to engage with it. The GOP response has been to minimize or even scoff at what occurred.

The pandemic has affected our sex lives in many unusual ways, but perhaps none more unusual than this development: The coronavirus has highlighted the possible public-health benefits of glory holes. Sexual positions that make use of walls as physical barriers have long been considered niche. But when the New York City Department of Health recommended them last month as part of a push for safer sex, it tapped into a question that many of us have been asking: How do you seek sexual satisfaction during a global health crisis?

I haven’t had sex in more than a year, mostly because I took COVID-19 very seriously. I disconnected from the public sphere. No one visited my apartment. I disinfected my groceries and covered my apartment’s air vents with trash bags. As a queer person, I could barely register the idea of sex while living alongside a deadly virus that nobody really understood. One study published early in the pandemic showed that 43.5 percent of people reported a decrease in the quality of their sex life. Among study participants, they had fewer sexual encounters with other people, and even masturbated less often.

Liberate Hong Kong, revolution of our times.

For 15 days this month, prosecutors and defense lawyers in a Hong Kong courtroom wrangled over the history and parsed words in this phrase. The back-and-forth included numerous forays into the obscure in an attempt to pinpoint the exact meaning of the slogan, created five years ago and popularized during 2019’s pro-democracy protests. There were diversions into ancient Chinese history and poetry; the former nationalist leader Chiang Kai-shek made a cameo, as did the American civil-rights leader Malcolm X. The crux of the argument: Could these seven words transform a dangerous-driving incident more than a year ago into an act of terrorism and secession?

This article was published online on July 22, 2021.

The dentist was a few minutes late, so I waited by the barn, listening to a northern mockingbird in the cypress trees. His tires kicked up dust when he turned off Drew Ruleville Road and headed across the bayou toward his house. He got out of his truck still wearing his scrubs and, with a smile, extended his hand: “Jeff Andrews.”

The gravel crunched under his feet as he walked to the barn, which is long and narrow with sliding doors in the middle. Its walls are made of cypress boards, weathered gray, and it overlooks a swimming pool behind a white columned house. Jeff Andrews rolled up the garage door he’d installed.

Our eyes adjusted to the darkness of the barn where Emmett Till was tortured by a group of grown men. Christmas decorations leaned against one wall. Within reach sat a lawn mower and a Johnson 9.9-horsepower outboard motor. Dirt covered the spot where Till was beaten, and where investigators believe he was killed. Andrews thinks he was strung from the ceiling, to make the beating easier. The truth is, nobody knows exactly what happened in the barn, and any evidence is long gone. Andrews pointed to the central rafter.