Reporter's Notebook

In September 2009, a Republican congressman from South Carolina named Joe Wilson inserted himself into history. He interrupted President Barack Obama’s speech to a joint session of Congress by shouting, “You lie.”

The outburst shocked viewers. Wilson, not Obama, was the top trending item on Twitter in the aftermath of the speech. Wilson apologized, “I let my emotions get the best of me.” Then Republican Conference Chair Mike Pence expressed regret: “Joe made a mistake.” Wilson was formally reprimanded by a vote of the House.

More than a decade later, that all seems quaint. Not only did Republicans repeatedly heckle, jeer, and shout during President Joe Biden’s State of the Union address Tuesday night, but Biden was ready for them. In impromptu remarks not included in the prepared text of the speech, Biden rolled with the interruptions, using them to reinforce his message. Biden accused “some” Republicans of plotting to sunset Social Security and Medicare. When he got protests, he grinned and accepted them as a “unanimous” endorsement. “I welcome all converts,” he told them, recasting for the television audience the Republican hubbub as a sign of submission.

It started out as a fairly typical office friendship: You ate lunch together and joked around during breaks. Maybe you bonded over a shared affinity for escape rooms (or board games or birding or some other slightly weird hobby). Over time, you became fluent in the nuances of each other’s workplace beefs. By now, you vent to each other so regularly that the routine frustrations of professional life have spawned a carousel of inside jokes that leavens the day-to-day. You chat about your lives outside work too. But a lot of times, you don’t have to talk at all; if you need to be rescued from a conversation with an overbearing co-worker, a pointed glance will do. You aren’t Jim and Pam, because there isn’t anything romantic between you, but you can kind of see why people might suspect there is.

The scar first appears on Annie Bonelli’s TikTok on March 18, 2021. In the video, she is in a car, earbuds in, lip-synching to the song “I Know,” by D. Savage. The mark on her cheek is blurry and soft, like a smudge of dirt. She is bobbing her head underneath a caption about how it feels when someone accidentally likes a social-media post that’s more than a year old. The lyrics offer the answer: “You say you hate me but you stalk my page, you fucking hypocrite,” Bonelli mouths.

The comments section is filled with thousands of people pretty much admitting to doing just that. For nearly two years, hordes of sleuths have fixated on Bonelli’s face, united in a mission that has sent them scrolling through years of the teenager’s TikTok videos and back to this video in particular, where her mark is visible for the first time. They want to know the truth: Is the pretty, blond 18-year-old’s facial scar real, or did she fake it for online attention?

Netflix just unveiled (and then partially withdrew) details of a new password-sharing policy, which allows members of the same “household” to share an account. Besides being, in reality, more an anti-password-sharing policy, this revised version comes with two very large assumptions: that there is a commonly understood, universal meaning of household, and that software can determine who is and is not a member of your household.

This is a recurring form of techno-hubris: the idea that baseline concepts such as “family” have crisp definitions, and that any exceptions are outliers that would never swallow the rule. Such corporate delusion in the world of technology is so long established and common that there’s a whole genre devoted to cataloging the phenomenon: “Falsehoods Programmers Believe About X.”

I grew up in a nonstick-pan home. No matter what was on the menu, my dad would reach for the Teflon-coated pan first: nonstick for stir-fried vegetables, for reheating takeout, for the sunny-side-up eggs, garlic fried rice, and crisped Spam slices that constituted breakfast. Nowadays, I’m a much fussier cook: A stainless-steel pan is my kitchen workhorse. Still, when I’m looking to make something delicate, such as a golden pancake or a classic omelet, I can’t help but turn back to that time-tested fave.

And what a dream it is to use. Nonstick surfaces are so frictionless that fragile crepes and scallops practically lift themselves off the pan; cleaning up sticky foods, such as oozing grilled-cheese sandwiches, becomes no more strenuous than rinsing a plate. No wonder 70 percent of skillets sold in the U.S. are nonstick. Who can afford to mangle a dainty snapper fillet or spend time scrubbing away crisped rice?

This article was featured in One Story to Read Today, a newsletter in which our editors recommend a single must-read from The Atlantic, Monday through Friday. Sign up for it here.      

“WE WERE A BIT CRAZY”

Kairos Power’s new test facility is on a parched site a few miles south of the Albuquerque, New Mexico, airport. Around it, desert stretches toward hazy mountains on the horizon. The building looks like a factory or a warehouse; nothing about it betrays the moonshot exercise happening within. There, digital readouts count down the minutes, T-minus style, until power begins flowing to a test unit simulating the blistering heat of a new kind of nuclear reactor. In this test run, electricity, not uranium, will furnish the energy; graphite-encased fuel pebbles, each about the size of a golf ball, will be dummies containing no radioactive material. But everything else will be true to life, including the molten fluoride salt that will flow through the device to cool it. If all goes according to plan, the system—never tried before—will control and regulate a simulated chain reaction. When I glance at a countdown clock behind the receptionist during a visit last May, it says 31 days, 8 hours, 9 minutes, and 22 seconds until the experiment begins.

This article was featured in One Story to Read Today, a newsletter in which our editors recommend a single must-read from The Atlantic, Monday through Friday. Sign up for it here.  

I.

She was very late. A man named Barry was compelled to lead the room in a rendition of Lee Greenwood’s “God Bless the U.S.A.” to stall for time. But when she did arrive, the tardiness was forgiven and the Cobb County Republican Party’s November breakfast was made new. She wasn’t greeted. She was beheld, like a religious apparition. Emotions verged on rapture. Later, as she spoke, one man jumped to his feet with such force that his chair fell over. Not far away, two women clung to each other and shrieked. I was knocked to my seat when a tablemate’s corrugated-plastic FLOOD THE POLLS sign collided inadvertently with my head. Upon looking up, I came eye-level with a pistol tucked into the khaki waistband of an elderly man in front of me. “She is just so great,” I heard someone say. “I mean, she really is just amazing.”

This article was featured in One Story to Read Today, a newsletter in which our editors recommend a single must-read from The Atlantic, Monday through Friday. Sign up for it here.

The things that destroy love and marriage often disguise themselves as unimportant. Many dangerous things neither appear nor feel dangerous as they’re happening. They’re not bombs and gunshots. They’re pinpricks. They’re paper cuts. And that is the danger. When we don’t recognize something as threatening, then we’re not on guard. These tiny wounds start to bleed, and the bleed-out is so gradual that many of us don’t recognize the threat until it’s too late to stop it.

I spent most of my life believing that what ended marriages were behaviors I classify as Major Marriage Crimes. If murder, rape, and armed robbery are major crimes in the criminal-justice system, I viewed sexual affairs, physical spousal abuse, and gambling away the family savings as major crimes in marriage.      

It took me a moment to register the sound of scattered hissing at the Tocqueville Conversations—a two-day “taboo-free discussion” among public intellectuals about the crisis of Western democracies. More than 100 of us had gathered in a large tent set up beneath the window of Alexis de Tocqueville’s study, on the grounds of the 16th-century Château de Tocqueville, in coastal Normandy. I couldn’t remember hearing an audience react like this in such a forum.

The democratic crisis that the conference sought to address has many facets: the rise of the authoritarian right, metastasizing economic inequality, the pressures of climate change, and more. But the conference, held in September 2021, had mostly narrowed its focus to the American social-justice ideology that’s commonly referred to as “wokeness.” The person being hissed at that afternoon was Rokhaya Diallo, a French West African journalist, social-justice activist, and media personality in her mid-40s. (In America, she writes for The Washington Post.) Besides me, she was one of just a handful of nonwhite speakers and, to my knowledge, the sole practicing Muslim.

Bowen Yang didn’t break first, but he was the cast member least able to handle the cascade of giggles that caused yesterday’s final Saturday Night Live sketch of the night to lose total control. Partway through “Lisa From Temecula,” a bit about a woman named Lisa (played by Ego Nwodim) aggressively carving up her “extra-extra-well-done” steak, Yang cracked up, throwing down his prop fork. The host, Pedro Pascal, was already chortling through his lines, as were Nwodim, Devon Walker, and Punkie Johnson. Pascal never finished his last sentence before the segment ended.

It was the kind of sketch I replayed as soon as I could, not because it was overwhelmingly funny but because the cast’s fumbles and the audience’s hollering felt brilliantly spontaneous. I noticed Molly Kearney apparently fighting the urge to break by staring intensely at nothing; Nwodim stepping onto Pascal’s leg while sawing her meat after she accidentally knocked over her chair; Yang helplessly signaling the crew for the sketch to wrap up. “Lisa From Temecula” follows in the footsteps of “Debbie Downer” and “Girlfriends Game Night,” sketches that hinged on a simple premise—the former, a visit to Disney World with a naysayer; the latter, a hangout that goes wrong when a woman brings her husband. In such sketches, the jokes aren’t the most compelling part. The cast and audience’s pure, chaotic enjoyment of them is.