Not long after the 1989 launch of The Sandman, Neil Gaiman’s groundbreaking comic-book series, came the inevitable question that plagues critically acclaimed smash hits—how best to translate it to the screen? The series’s central family, known as “The Endless,” live in a vividly cinematic world; each member personifies a natural force, including dreams, death, and desire. But Gaiman’s epic story spans eons and an ensemble of dozens.

Reading is hard right now. The pandemic has pushed our already scattered attention spans to a crisis point. But even before 2020, stressors such as political chaos and the allure of our phones made it harder and harder to find the time and focus to get lost in a book. Even when we’re not living through a distracting moment, we will inevitably have personal fallow periods when reading as a habit and a respite just doesn’t happen.

A stomach-twisting thrill animates the Taken movies. As bullets fly across each progressively more ridiculous sequel, Liam Neeson kicks down the door to the pantheon of cultural Super Dads and asserts himself as its king.

Usually when rich people rage against the possibility that someone less wealthy might become their neighbor, nobody bats an eye. Why would they? NIMBYism is the dominant fact of American urban geography. But in recent years, a number of very rich people, including the billionaire investor Marc Andreessen, have positioned themselves on the other side of the debate, arguing against supply restrictions and deriding purportedly progressive places for failing to address the rising cost of housing.

Seventy-eight days and more than 7,000 documented cases into the United States’s 2022 outbreak of monkeypox, federal officials have declared the disease a nationwide public-health emergency. With COVID-19 (you know, the other ongoing viral public-health emergency) still very much raging, the U.S. is officially in the midst of two infectious-disease crises, and must now, with limited funds, wrangle both at once.

This is an edition of The Atlantic Daily, a newsletter that guides you through the biggest stories of the day, helps you discover new ideas, and recommends the best in culture. Sign up for it here.I’m sorry to say it: We really must talk about CPAC.But first, here are three new stories from The Atlantic.
Alex Jones can’t pretend his way out of this reality.
To Putin, Brittney Griner is a pawn. To the U.S., she’s a person.

In the world of moviemaking, it’s generally considered good business to release the movies you make. After all, they can cost tens of millions of dollars to produce, and (pardon me for getting overly technical here) selling tickets for the general public to view them can help recoup that cost. Streaming TV has changed that calculation a little. Now films are sometimes made not to sell tickets but just to beef up entertainment libraries for monthly subscribers.