Does my name belong to me? Does my face? What about my life? My story? Why is my name used to refer to events I had no hand in? I return to these questions again and again because others continue to profit off my identity, and my trauma, without my consent. Most recently, there is the film Stillwater, directed by Tom McCarthy and starring Matt Damon and Abigail Breslin, which was, in McCarthy’s words, “directly inspired by the Amanda Knox saga.” How did we get here?

In the fall of 2007, a British student named Meredith Kercher was studying abroad in Perugia, Italy. She moved into a little cottage with three roommates—two Italian law interns, and an American girl. Less than two months into her stay, a young man named Rudy Guede, an immigrant from the Ivory Coast, broke into the apartment and found Meredith alone. Guede had a history of breaking and entering. A week prior, he had been arrested in Milan while burglarizing a nursery school, and was found carrying a 16-inch knife. He was released. A week later, he raped Meredith and stabbed her in the throat, killing her. In the process, he left his DNA in Meredith’s body and throughout the crime scene. He left his fingerprints and footprints in her blood. He fled to Germany immediately afterward, and later admitted to being at the scene.

Updated at 7:30pm ET on July 30, 2021.

Behold California, colossus of the West Coast: the most populous American state; the world’s fifth-largest economy; and arguably the most culturally influential, exporting Google searches and Instagram feeds and iPhones and Teslas and Netflix Originals and kimchi quesadillas. This place inspires awe. If I close my eyes I can see silhouettes of Joshua trees against a desert sunrise; seals playing in La Jolla’s craggy coves of sun-spangled, emerald seawater; fog rolling over the rugged Sonoma County coast at sunset into primeval groves of redwoods that John Steinbeck called “ambassadors from another time.”

This landscape is bejeweled with engineering feats: the California Aqueduct; the Golden Gate Bridge; and the ribbon of Pacific Coast Highway that stretches south of Monterey, clings to the cliffs of Big Sur, and descends the kelp-strewn Central Coast, where William Hearst built his Xanadu on a hillside where his zebras still graze. No dreamscape better inspires dreamers. Millions still immigrate to my beloved home to improve both their prospects and ours.

When you contemplate the end of democracy in America, what kind of person do you think will bring it about? Maybe you picture a sinister billionaire in a bespoke suit, slipping brown envelopes to politicians. Maybe your nightmare is a rogue general, hijacking the nuclear football. Maybe you think of a jackbooted thug leading a horde of men in white sheets, all carrying burning crosses.

Here is what you probably don’t imagine: an affable, self-made midwesterner, one of those goofy businessmen who makes his own infomercials. A recovered crack addict, no less, who laughs good-naturedly when jokes are made at his expense. A man who will talk to anyone willing to listen (and to many who aren’t). A philanthropist. A good boss. A patriot—or so he says—who may well be doing more damage to American democracy than anyone since Jefferson Davis.

Every striver who ever slipped the rank of their birth to ascend to a higher order has shared the capacity to ingratiate themselves with their betters. What the truly exceptional ones have in common is the ability to connect not only with their superiors but also with their peers and inferiors. And only the rarest talents among them can bond authentically—not just transactionally—with the people who will help them be who they want to be in the world. It’s a preternatural, almost Promethean gift if you have it, and Amy Chua does.

Thus begins the scandal dubbed “dinner-party-gate,” the latest in the annals of Amy Chua, Yale Law’s very own Tiger Mom, whose infamous defense of Supreme Court Justice Brett Kavanaugh was the “dinner-party-gate” of its day approximately three years ago. Then, as now, Chua’s differences with some denizens of her milieu played out in the press, vituperations, allegations, insinuations, and all.

And just like that, it’s Groundhog Day. The news from the CDC is bad. Yes, we have vaccines—and they are miraculously effective at preventing serious illness and death from COVID-19. Thank goodness for that. But the CDC now says that when vaccinated people are infected, they may spread the coronavirus just as easily as the unvaccinated do. On top of that, the Delta variant is tremendously contagious, much more so than the original strain of the virus. As federal health officials put it in a document first obtained by The Washington Post, we must now “acknowledge the war has changed.”

To make sense of all this, I called Gary Simon, the Walter G. Ross Professor of Medicine and director of the Division of Infectious Diseases at George Washington University’s School of Medicine and Health Sciences. Our conversation has been lightly edited and condensed for clarity.

The CDC’s color-coded coronavirus case map, if you can find it, is easy enough to read. It’s a county-by-county snapshot of viral transmission—the agency’s new fallback for advising fully vaccinated people on whether they need to don a mask indoors. The parts painted in those scary shades of orange or red are areas of substantial or high transmission, respectively; they’re the places where you should be shielding your face indoors, regardless of how shot-fortified your immune system is. According to the agency, not everyone has to mask up again, so the map is, in theory, something inoculated Americans could check like a weather forecast to decide their face’s fate. Use the map, CDC Director Rochelle Walensky advised in a press briefing this week. It’s updated daily.

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.

Every Thursday at 5 p.m., my grandmother would go into her bedroom in Havana, lock the door, and tune her Soviet-made radio to Radio Martí, a Miami-based station run by Cuban exiles who had fled Fidel Castro’s revolution. She always set the volume barely above a whisper. “Walls have ears,” she would say. Despite being an ordinary and compliant citizen, she, like the rest of my family, avoided controversial political topics on the phone, afraid that the lines were tapped. We acted as if the state were always staring directly at us. Its presence was everywhere.

For my mother’s generation, the following things, among others, were forbidden: listening to the Beatles, being openly gay, displaying religious beliefs, and reading certain books. As a kid in the late 1980s, I wore the same clothes as everybody else did, received an identical education, and even used the same and only toothpaste brand, Perla. Individual autonomy and freedom of choice did not exist.

In the final episode of The Pursuit of Love, Linda Radlett (played by Lily James), the dazzlingly romantic and impractical heroine of Nancy Mitford’s 1945 novel, is taken shopping by a formidable French aristocrat. Linda parades a series of outfits, blowing kisses and laughing, then feigns abashed surprise when Fabrice (Assaad Bouab), her new lover, declares that they’ll take it all. Later, she struts down a Parisian boulevard, a shopping bag in each gloved hand and a black straw hat perched on her head, intoxicated by the rush of someone spending his money on her. If the scene seems familiar, that’s because it’s almost a frame-by-frame restaging of the Rodeo Drive interlude in Pretty Woman, minus the pizza and the shaming of snobby saleswomen. (Big mistake. Huge!)

Dear Therapist,

Six years ago, my retired husband and I moved to be close to our grandkids, and three years ago, our daughter’s family and ours bought houses with adjoining backyards. My husband was the “manny” four days a week until each child was old enough to go to preschool a couple of days a week.

That changed with the pandemic. My daughter already worked remotely, and my son-in-law moved to a remote position because he has a health issue that makes him higher-risk. The kindergartner and 3-year-old were now home and my husband was taking care of both of them five days a week instead of only one child all day twice a week and both kids after school four days a week.

My husband never asks our daughter or son-in-law to pick up the kids by a certain time. The one thing he asked over the summer was that they have the kids at our house by 7:45 a.m. so he could take them out for a walk or a bike ride before it got too hot. Almost every morning, he had to call my son-in-law and ask what the kids’ status was, despite repeatedly stating this wish. He also mentioned it to our daughter, but there was still no consistency in getting them here on time.