Just two years ago, Dominion Voting Systems’ defamation lawsuit against Fox News showed that many right-wing influencers didn’t believe a word of the stuff they were peddling to their audiences. In text messages that surfaced during litigation, top Fox anchors and executives poured scorn on the idea that the 2020 presidential election had been stolen, even as the network amplified that conspiracy theory to its audience. “Our viewers are good people and they believe it,” Tucker Carlson wrote in one message.

Today, though, some of the country’s most mainstream, most influential conservatives are stoking paranoid conspiracism—and seem to genuinely believe what they’re saying.

The venture capitalist Peter Thiel, for example, could not be more of an establishment figure: He was an early investor in Facebook, is now a mentor of Vice President–Elect J. D. Vance, and has strong links to the U.S. defense industry through his company Palantir. But in a recent opinion column in the ultra-establishment Financial Times, Thiel sounds like The X-Files’ Fox Mulder after a long night in the Bigfoot forums. “The future demands fresh and strange ideas,” he writes.

[Read: Peter Thiel is taking a break from democracy]

After Donald Trump’s second inauguration, Thiel implies, we might finally know the truth about the assassination of President John F. Kennedy and whether the coronavirus was a bioweapon. Thiel notes that the internet also has questions about the death of the well-connected sex offender Jeffrey Epstein. “Trump’s return to the White House augurs the apokálypsis”—that is, a revealing—“of the ancien regime’s secrets,” he adds. (Two pretentious expressions in one sentence? Monsieur, watch out for hubris.) Thiel wants large-scale declassifications and a truth-and-reconciliation commission, in the model of South Africa’s reckoning with apartheid. “The apokálypsis cannot resolve our fights over 1619,” Thiel writes, referring to the year the first enslaved Africans arrived in Virginia, “but it can resolve our fights over Covid-19; it will not adjudicate the sins of our first rulers, but the sins of those who govern us today.”

Thiel portrays Trump’s resurgence as a defeat for the “Distributed Idea Suppression Complex,” or DISC—his friend and employee Eric Weinstein’s term for legacy media outlets and nongovernmental organizations that supposedly prevent politically inconvenient truths from reaching the public. Thanks to the internet, information can no longer be suppressed.

Like most classic conspiracism, Thiel’s arguments contain grains of truth. As Naomi Klein’s Doppelganger wisely notes, “The line between unsupported conspiracy claims and reliable investigative research is neither as firm nor as stable as many of us would like to believe.” Thiel is right that some liberal commentators and mainstream outlets were too quick to dismiss the question of whether COVID-19 originated anywhere other than a Wuhan meat market. At one point, a New York Times reporter suggested on Twitter that racism underlay any suspicions that the virus had escaped from a research lab. None of this shows, however, that the coronavirus was a bioweapon, or that Anthony Fauci deserves to be prosecuted. (For that matter, the Times has run multiple articles that are open-minded about the origins of the virus.) In any case, who was president in 2020, when the COVID-origins debate was emerging? If any classified evidence existed that would have cleared up the controversy, Donald Trump had the power to disclose it.

[From the October 2023 issue: From feminist to right-wing conspiracist]

As for Epstein, his death, in 2019, was certainly very convenient for anyone who might have been embarrassed by what he knew. Nevertheless, the so-called mainstream media are not covering up the lingering questions; definitive answers simply aren’t available, and may never be. (CBS broadcast an episode of 60 Minutes with graphic photos of Epstein’s autopsy all the way back in January 2020.) Besides, if anyone is hiding the truth about Epstein, it’s probably not the left-wing blob. Who would benefit from killing a man who hung out with Trump, Prince Andrew, and various tech billionaires? Probably not blue-haired vegans from Portland, Oregon; racial-justice campaigners; or humanities academics. Meanwhile, the idea that anyone stifled doubts about the official explanation of the Kennedy assassination before social media is laughable. The subject has captivated Americans for more than six decades. Oliver Stone’s JFK, which highlighted florid conspiracy theories about the former president’s death, came out in 1991. The film starred Kevin Costner and won two Oscars.

Thiel’s quest for closure about the pandemic is noteworthy. Something happened during that period to drive influential, apparently rational people toward beliefs that were once associated with crackpots. Others suddenly lost trust in institutions and expertise. The podcaster Bryan Johnson—a successful tech entrepreneur who is now pursuing literal immortality—went from boasting about receiving the Moderna vaccine in 2021, because he had invested in one of the companies involved in its development, to complaining that “vaccines are a holy war” and that he regretted getting a COVID shot because not enough data supported its use. This is a man who pops enough pills that if you shook him, he’d rattle.

[Read: I went to a rave with a 46-year-old millionaire who claims to have the body of a teenager]

High-profile figures across the political right have revealed their penchant for woo-woo. Skepticism of conventional medicine has become a staple of heterodox podcasts that simultaneously promote unproven, unregulated dietary supplements. My colleague Anne Applebaum has described this trend toward mysticism, fringe religious beliefs, and pseudo-spirituality as the New Obscurantism.

Until recently, I had assumed that the anti-establishment sentiments promoted by Thiel and others were merely opportunistic, a way for elites to stoke a form of anti-elitism that somehow excluded themselves as targets of popular rage. Thiel has always made a point of entertaining provocative heterodox opinions, but he has also demonstrated himself to be eloquent, analytical, and capable of going whole paragraphs without saying something unhinged. But reading his Financial Times column, I thought: My God, he actually believes this stuff. The entire tone is reminiscent of a stranger sitting down next to you on public transit and whispering that the FBI is following him.

The correct response to uncertainty is humility, not conspiracy. But conspiracy is exactly what many of those who are influential in Trump’s orbit have succumbed to—everything must be a product of the DISC, or the deep state, or the World Economic Forum, or other sinister and hidden controlling hands. The cynical Tucker Carlson of the Dominion era has given way to a more crankish version since his firing from Fox. When Carlson first went independent, he seemed to be hosting kooks for clicks. On his live tour, for example, he looked faintly embarrassed as Roseanne Barr told him that Democrats “love the taste of human flesh and they drink human blood.” And maybe he didn’t really believe the former crack user who claimed to have had a gay affair with Barack Obama, or the historian who asserts that Winston Churchill—not Adolf Hitler—was the “chief villain” in the Second World War. But at a certain point, I started to take Carlson at his word. Recently, he claimed that he’d woken up with scars and claw marks after being attacked by a demon in his bedroom. A few days before this, he said that America needed a “vigorous spanking” from Daddy Trump, and a few days after, Carlson revealed that he thought demons had invented the atom bomb. He’s clearly working through some stuff.

What can we learn from this kind of credulity? First, that maintaining an appropriate level of skepticism is the intellectual discipline needed to navigate the rest of the 2020s. Yes, the legacy media will get things wrong. But that doesn’t mean you should believe every seductive narrative floating around online, particularly when it’s peddled by those who are trying to sell you something.

The second lesson is that, no matter how smart a person might be in their business dealings, humans are all prone to the same lizard-brain preference for narratives over facts. That makes choosing your information sources carefully even more important. If you spend all day listening to people who think that every inexplicable event has a malevolent hand behind it, you will start to believe that too. The fact that this paranoia has eaten up America’s most influential men is an apokálypsis of its own.

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.

Welcome back to The Daily’s Sunday culture edition.

Few things are more satisfying than watching a show pull off a clever and high-octane episode. For those looking to revisit some greats, our writers and editors answer the question: What do you think is a perfect episode of TV?

The following contains spoilers for the episodes mentioned.

“The Panic in Central Park,” Girls (streaming on Max)

Maybe this is the former theater critic in me coming out, but the thing I love most is when a television series tells a complete story in miniature—a stand-alone short that puts a particular dynamic or relationship or cast member front and center. Girls, which revolves around four friends in New York City, has always been brilliant at this, and never more so than with “The Panic in Central Park,” a Marnie-centered episode that deals with the particular moment in young adulthood when fantasy becomes untenable.

“The Panic in Central Park,” like the best Girls episodes, is written by Lena Dunham and directed by Richard Shepard. It begins with Desi mournfully reproaching his “cruel” new wife, Marnie, for declining to go get a scone, ends with her asking for a divorce, and riffs on film history, romance, and codependency in between. The high-strung Marnie, out on a walk to clear her head, encounters her ex, Charlie, who’s almost unrecognizable. He whisks her away on a whirlwind New York City adventure involving a consigned red cocktail dress (Millennial Williamsburg’s answer to Pretty Woman), a fake identity, Italian food, a rowboat in Central Park, a robbery, and—finally—the revelation that Charlie is addicted to heroin. A sadder, wiser Marnie walks home barefoot, having accepted the idea that no one is going to save her. The episode is beautiful and incisive about the allure of the stories we wrap ourselves in and the power of shaking them off.

— Sophie Gilbert, staff writer

***

“If It Smells Like a Rat, Give It Cheese,” Survivor: Micronesia (streaming on Hulu and Paramount+)

If I could erase my brain in order to watch anything for the first time again, I would do it for the penultimate episode of Survivor: Micronesia. The 16th season of the reality game show is famously one of the best, and this episode is why. Watching it is like witnessing Alex Honnold climb El Capitan without ropes—except instead of sheer athleticism in the face of seemingly impossible odds, you’re seeing how master manipulators exploit social dynamics to get what they want. It’s the Olympics for those who prefer politics or gossip to sports.

People who haven’t watched Survivor often assume that it’s about “surviving” the wilderness, but it’s always primarily been about surviving human nature. Driven by power and social capital, the show has more in common with Game of Thrones than Naked and Afraid. Explaining exactly what happens in this episode would be like explaining an inside joke; you need to watch the whole season to get why it hits. Just know that it features Red Wedding–level of gameplay, setting the bar high for how far people will go to get ahead.

— Serena Dai, senior editor

***

“C**tgate,” Veep (streaming on Max)

Unlike a perfect movie, a perfect episode of television does not need to surprise you or make you cry. It just needs to move your beloved or loathed characters through the formula in an especially excellent way. But the element of surprise may be why I remember “C**tgate” so many years later. In this episode of Veep, Selina Meyer (Julia Louis-Dreyfus) orchestrates two tasks that are both impossibly monumental and petty. She has to decide if she is going to bail out a bank owned by her current boyfriend, and she must find out who on her staff called her a “cunt” so loudly in public that it was overheard by a reporter.

These interweaving plots alone would make a perfectly satisfying episode. What makes it golden are two of the funniest, most unexpected subplots in Veep’s run. One involves a focus group for the bumbling White House liaison Jonah Ryan, now running for Congress in New Hampshire, who is workshopping an ad. The second is a surprise announcement by Selina’s daughter, a recurring sad sack who can never get her mother’s attention. Guess who she’s dating?

— Hanna Rosin, senior editor

***

“Clyde Bruckman’s Final Repose,” The X-Files (streaming on Hulu)

If you’re seeking out a perfect episode of TV, the richest cache to search is the “case of the week” entries of The X-Files. The show wove an elaborate arc about aliens on Earth but saved most of its best material for the smaller stuff. “Clyde Bruckman’s Final Repose,” written by Darin Morgan, is a gothic short story, following FBI agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) as they investigate a murder with the help of a tetchy local psychic named Clyde Bruckman (Peter Boyle).

This being The X-Files, Mulder is immediately taken with Bruckman’s clairvoyance, while Scully is skeptical—but Morgan’s script resolves each of Bruckman’s predictions about the future in clever, tragicomic ways, reinforcing Mulder’s belief while also finding ways to affirm Scully’s cynicism. It’s funny, dark, and beautifully acted—particularly between Anderson and Boyle—with an elliptical plot structure that feels wonderfully complex even by today’s TV standards.

— David Sims, staff writer

***

“It’s the End of the World” and “As We Know It,” Grey’s Anatomy (streaming on Netflix and Hulu)

I’ve previously written that after more than 20 seasons, it’s time for Grey’s Anatomy to come to an end. But in its early days, the series was responsible for some of the most memorable episodes of television: The second season’s two-part storyline, “It’s the End of the World” and “As We Know It,” demonstrated the show’s mix of humor and drama at its best.

Colloquially known as the “bomb in the body cavity” episodes, they tell the story of a patient who comes in with live ammunition in his chest. At the same time, the show’s powerhouse resident Dr. Miranda Bailey goes into labor, and two other characters perform surgery on her husband, who crashed his car on his way in. In the midst of some very suspenseful plotlines, the dialogue explores the relationships among, and vulnerabilities of, the characters in a beautifully human way. On a show that’s known for putting people in harm’s way, this pair of episodes focuses as much on the emotions as on the drama: the fear of losing someone you care about, and what it really means to be in love.

— Kate Guarino, supervisory senior associate editor

***

Season 2, Episode 10, The Mole (streaming on Netflix)

The Season 2 finale of Netflix’s reboot of The Mole is made perfect if you first watch all of the other episodes. The show’s formula is simple: 12 people collaborate on Indiana Jones–style missions to earn money for a prize pot, but one of them is a “mole” hired by the producers to sabotage the other contestants. Elimination isn’t based on your performance in missions. It’s about how accurately you identify the mole, according to your answers on a quiz given each round.

What results is sumptuous chaos, set among abandoned buildings and real explosives that make you wonder what the release form for this show must look like. Everyone is pretending to be the mole (to mislead others) while testing their fellow players (to figure out who the mole is) and still, somehow, trying to collect money for the prize pot. Oh, and did I mention that Ari Shapiro of All Things Considered fame is this season’s host?

I won’t spoil the finale, but it involves minefields and three equally mole-like characters. There’s not a single weak link in this episode, and if you correctly guess who the mole is, you’ll have bested much of the internet.

— Katherine Hu, assistant editor

***

“Chocolate With Nuts,” SpongeBob SquarePants (streaming on Paramount+)

At about 11 minutes per segment, SpongeBob SquarePants doesn’t have much room to play around with. But its best episodes use that brevity to their advantage, stuffing in visual gags, one-liners, callbacks, goofy voice acting, and witty repartee. “Chocolate With Nuts,” from the third season, is the greatest example of the show’s “run out the clock” ethos: SpongeBob and his best friend, Patrick, become chocolate-bar salesmen to achieve “fancy living.” Their ensuing door-to-door journey introduces them to a cavalcade of bizarre Bikini Bottom dwellers, including a seemingly immortal, shriveled-up fish and a man who feigns “glass bones” syndrome in one of many efforts to dupe the boys into buying chocolate from him instead.

More than most episodes of this kids’ cartoon, “Chocolate With Nuts” threads the needle between the juvenile hijinks and some more adult themes: the empty promise of the good life, the uphill battle of entrepreneurship, the fallacy of “trust thy neighbor.” That headiness is all conveyed through SpongeBob’s elastic face and Patrick’s gobsmacking vacuousness—the best way to explore any nuanced concept, in my view.

But the primary reason I have been rewatching this episode for more than 22 years now is its unassuming density. SpongeBob is wonderfully breezy, but its hidden strength is how layered each joke is: I laugh at different things every time—a certain line delivery, a certain facial expression—and impulsively repeat its most memorable quotes. “Chocolate,” says the pruned old-lady fish, wistfully. “Sweet, sweet chocolate. I always hated it!”

— Allegra Frank, senior editor

Here are three Sunday reads from The Atlantic:

The anti-social century The army of God comes out of the shadows. The agony of texting with men

The Week Ahead

September 5, a drama film detailing an ABC Sports crew’s efforts to cover the massacre at the 1972 Olympics in Munich (in theaters nationwide Friday) Season 2 of Severance, a sci-fi series about a corporate employee who agrees to surgically “sever” his personal life from his work life (streaming on Apple TV+ on Friday) The JFK Conspiracy, a book by Josh Mensch and Brad Meltzer about the first assassination attempt on John F. Kennedy (out Tuesday)

Essay

Illustration by Jackson Gibbs

Parents Are Gaming Their Kids’ Credit Scores

By Michael Waters

Several years ago, Hannah Case decided to examine her personal credit history. Case, who was then a researcher at the Federal Reserve, hadn’t gotten her first credit card until she was 22. But as she discovered when she saw her file, she’d apparently been spending responsibly since 14.

Read the full article.

More in Culture

The reason The Brutalist needs to be so long The payoff of TV’s most awaited crossover What to read when the odds are against you September 5 captures a crisis becoming must-watch TV. The bizarre brain of Werner Herzog The film that rips the Hollywood comeback narrative apart

Catch Up on The Atlantic

Trump’s sentencing made no one happy. Trump is right that Pax Americana is over, Charles A. Kupchan argues. Why “late regime” presidencies fail

Photo Album

A man watches as flames from the Palisades Fire close in on his property in the Pacific Palisades neighborhood of Los Angeles. (Ethan Swope / AP)

The Palisades Fire grew quickly in California, burning many structures and sending thick plumes of smoke into the air. These photos show parts of Los Angeles scorched by the wildfire.

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