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Billie Eilish has some scary problems, she tells listeners on her new album’s first song, “Getting Older.” A stranger outside her door is acting deranged. Loneliness and burnout mount in her mind. Abuse and trauma darken her past. She murmurs about these things over a synthesizer that pulses like a time bomb. It never seems to explode, but the final verse does contain a shock.

The year 2001 was a pivotal one for Hollywood. The indie wave of the ’90s was still cresting, but an era of franchises and unending sequels and reboots was on the horizon. Some of the hits of 20 years ago (Harry Potter and the Sorcerer’s Stone, The Fast and the Furious) have footprints that extend into the present day. It’s hard to imagine other daring work (A.I. Artificial Intelligence, Vanilla Sky) making as big of an impression now.

Hospitals in the United States are again filling up with COVID-19 patients, most of whom have refused COVID-19 vaccinations, likely due in part to medical misinformation circulating online and on television. We are eight months removed from a violent attack on the nation’s capital, organized online and carried out by individuals who believe—incorrectly—that the 2020 election was stolen.

The number of kids contracting the coronavirus is rising. In the week that ended with July 29, more than 70,000 children got COVID-19, representing nearly a fifth of all cases. Though a vanishingly small number of kids have died of the disease—358 since the start of the pandemic, as of July 29—some states, like Florida, now have dozens of children hospitalized. Few parents want to hear that their little ones may get COVID-19, no matter how low their odds of death.