He roamed the streets with a television camera, looking for women to proposition. He was somewhere between a talent scout for a modeling agency, a casting director, and a photographer, but he conducted his business not in a studio, or an office, behind closed doors. Rather, he strolled the boulevards of midtown Manhattan, dressed outlandishly. Even though the drama of his half-hour shows culminated—or did not culminate—in revealed breasts, some of which I still recall, the most vivid imagery of the show were the shots of Ugly George himself, a lunatic in hot pants, shirtless in the summer, with a huge camera on his shoulders, strolling through midtown amidst a sea of people in suits.

To anyone psychically invested in the velvet glove of normal life, we are already in the throes of an insurrection that must be stamped out. We are nearing the end of a summer that taught us nothing is inviolable, not precincts and not the promise that black people will entertain us to the bitter end. Republicans know that what has been unleashed will not be pacified easily. Pat Lynch, the head of the NYPD union, gave a speech castigating the left and the Democrats and all but swearing fealty to Trump. The congressional Democrats who embarrassingly kneeled in kente cloth were featured in a video roll call of radicalism alongside the DSA and toppled Confederate statues.

The news was not “fake,” but the measures were hardly enforced. Social media that weekend was full of photographs of groups of people congregating in picnic areas to grill shashlik. One of the patriots in the banya chat wrote that he had seen beat cops ticketing a babushka just for sitting on a bench outside, but the cops in the group were sure that he was making it up. It was clear that no one had any idea what was supposed to be happening.

As the fanboys and reply guys will leap to point out, Game of Thrones is set in a fantasy world and thus is not offering us a historically accurate version of the European medieval past. But it is, at another level, just as obviously set in a version of that past, albeit one with giants and dragons and the living dead. And insofar as that temporal orientation is the case, in its final maneuvers the show cheats its viewers of the capacity to respect the very pastness of that past by overlaying a presentist moral logic of political development onto it. In this narcissistic political schema, characters who are untroubled by monarchy are evil, while characters who support electoral systems are good. The effect of this rigged historical framework is to generate a smug sense of quasi-recognition, coating the sedimented layers of a past-that-never-was with a zesty little spritz of incipience.

Uruguay vs. Portugal brought us, mercifully, to the point where Ronaldo was also gone. Nothing against either of them, but their presence is such that even having one of them involved means the epic Messi–Ronaldo debate eats up all the air time and “analysis.” Men who know nothing pontificate. Good and evil are spoken of in utter seriousness. 7 percent of the internet is devoted to this debate, so let me take a moment to end it. They are both utterly amazing! And brace yourselves: they are equally amazing, and they are differently amazing. I don’t know why this is so hard for people to accept. There is no way, in a team sport, to bring the issue to further clarity, so I recommend everyone drops this line of debate. Please, take the fact that the universe put them out in the same round as a sign.

The episodes about regions of great migration, which frequently covered cities outside of Europe, revealed that Bourdain’s sense of food could follow a people beyond their national borders and recent history. In an episode on Tanzania, a snack of Mandazi (a fried dough Swahili dish) and Bagias (a fried lentil dish) became a way of describing Indian migration and Zanzibar’s multi-ethnic history. In Houston, conversation over a meal at a restaurant that blends Indian and Pakistani food transitioned smoothly to a portrait of Houston, as a city in which people from all over the world are co-mingling. The mixing of culinary cultures for Bourdain was the best record we had of ethnic migration and mixing. In this, Bourdain was like Hortense Spillers in “Peter’s Pans.” After pages of dense criticism attempting to reckon with a history of physical, economic, and epistemic violence against African-Americans, Spillers sketched a culinary tour of the food of African-derived people as evidence of the past’s lingering, far-reaching and ever-changing grasp on the present. For Spillers and for Bourdain, the blending of flavors on a plate was history in motion.