The New York Times

Emergency workers and researchers use the term “critical incident” to describe a traumatic event. It’s estimated that people, on average, will experience two to three critical incidents in their lifetimes. My first came at 8 years old, when my father made his first suicide attempt. Five years and five attempts later, he was dead. I’ve been compelled to explore mental health issues — and their potential solutions — ever since.

Research has found that throughout a career, an emergency worker may experience over 180 critical incidents. While observing emergency workers in this documentary, I was amazed by their ability to work so calmly through crises and transition quickly in and out of their home lives. But I came to understand that there was a toll paid for this form of public service, as emergency workers experience rates of behavioral health issues that are notably higher than the general population’s. We depend on emergency workers to provide service during our most vulnerable moments, but these experiences place them critically at risk for issues like PTSD, substance abuse and suicide.

After more than a decade spent working as a peer-support facilitator in suicide prevention and postvention, which involves assisting survivors in the grief process, I slowly became aware of the growing body of evidence supporting psychedelic-assisted therapies as a medical intervention for the types of behavioral health issues I encountered. Like many, I was skeptical. But I eventually learned that major institutions like the American Foundation for Suicide Prevention (for which I volunteer) and the Department of Veterans Affairs have supported research into psychedelics such as ketamine. The V.A. even announced this year that it will fund new studies on MDMA and psilocybin-assisted psychotherapies.

I wrote previously that the American West has some of the nation’s worst outcomes for behavioral health issues such as substance abuse and suicide. Growing up in Wyoming, I also saw how the West is home to some of the country’s most conservative cultural and political views on psychedelics. In making this film, I wanted to address that gap and challenge the assumptions of what a typical psychedelic user can and should look like.

This philosophy led me to Rob C., whose last name I’ve withheld to protect his privacy, a firefighter in Idaho who is undergoing ketamine-assisted psychotherapy to treat his PTSD. This use is not approved or regulated by the Food and Drug Administration but is legal in a clinical setting. I hope that his story can become part of a new paradigm for approaching mental health care and shift the public conversation toward the experiences of individuals facing mental health challenges who stand to benefit from these therapies.

- Film and text by Brandon Kapelow (https://www.brandonkapelow.com/)

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Spicy margaritas, bad decisions and one big stunt make up this sequence from “The Fall Guy.”

Ryan Gosling stars as a stuntman named Colt Seavers alongside Emily Blunt as a cinematographer, Jody Moreno. In this flashback, the two have a flirty conversation over the radio about having a drink after work as Colt prepares for a stunt on set.

For the scene, which involves Gosling’s character falling several stories inside a building, the “Fall Guy” director David Leitch said they opted to create the moment practically and have Gosling perform the stunt himself. This meant hooking the actor to a rig called a descender, used to drop a stunt performer off a building, and then a mechanism provides deceleration for the final 10 feet.

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Even the insiders are fed up with Washington. To understand why, we put the same eight questions to House and Senate members in both parties who are on the way out, looking for patterns and prescriptions to get a handle on the place. Corruption, money, perks, frustrations, solutions — hear what they said about it all.

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Using visual evidence and internal communications, The New York Times looked at six aid groups whose operations or shelters came under Israeli fire despite using the Israel Defense Forces’ deconfliction system to notify the military of their locations.

These humanitarian organizations have a direct line to the I.D.F. and come from Western countries, including Israel’s strongest allies. Some of the locations struck had been clearly marked or located in a special humanitarian zone that Israel said was safe for civilians.

The pattern indicates that in Israel’s battle against Hamas, not even the places with every available avenue of protection are safe from I.D.F. strikes.

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Churros have never tasted more bitter than in this scene from “Challengers.”

In this sequence, which takes place at Stanford, the character Art (Mike Faist), who is attending the university, reconnects with his dear friend Patrick (Josh O’Connor), who has left education to become a tennis pro. Not present in the scene, yet hanging over it, is Tashi (Zendaya), the woman at the center of their complicated triangle.

At this moment, Tashi is dating Patrick, but in this scene, Art is trying to throw a wrench into the relationship. The sequence takes place at the university canteen where the two are chatting over churros. Narrating the sequence, the director Luca Guadagnino said that what is playing out is “a game of rivalry sparkling between these two young boys over Tashi, but at the same time, a jealousy that ignites the relationship also because, probably, these two guys are also jealous of one another.”

That tension is played out in the way that Guadagnino shoots the sequence, holding on a long two-shot as the friends discuss Tashi, then cutting when Patrick realizes the game of manipulation that Art is playing.

“The main guideline in thinking of this movie and the mise en scène was the classic old Hollywood screwball comedy kind of grammar,” Guadagnino said. “Those great movies were all using, in a beautiful way, the stillness of framing to let the performance breathe in all its ambiguities, in all its unspoken conflicts.”

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Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch.

If you live in one of America’s cities, you probably see homeless people all the time. You might pass them on your way to work. Maybe you avoid eye contact. If they ask you for money, maybe you pretend you didn’t hear, and walk on by.

But what if you stopped and listened to what they have to say?

As you’ll see in the Opinion video above, you might find their stories of landing on the streets strikingly relatable. Such accounts reveal a hard truth about our country: Amid an affordable housing crisis, where 70 percent of all extremely low-income families today pay more than half their income on rent, becoming homeless is easier than we’d like to think.

That’s what Mark Horvath discovered firsthand in 1995, when he lost his job and wound up homeless for eight years. He started interviewing people on the street in 2008, and began sharing those stories on his YouTube channel, Invisible People. He wanted to try to help viewers who might ignore their homeless neighbors see them not with scorn, or indifference, but empathy.

These stories are even more important today, as a record number of people experience homelessness and face increasing threats from the law. On April 22, the Supreme Court is set to hear the case of Johnson v. Grants Pass, the most significant case in decades about homeless people’s rights. The case will determine whether cities can arrest or fine the homeless — even if there’s no other shelter. As the homeless plaintiffs wrote, this would be “punishing the city’s involuntarily homeless residents for their existence.”

Every homeless person’s path is complicated, and in this video, we haven’t remotely captured anyone’s whole story. Yes, some are addicts, some are mentally ill, some have made unwise choices, and some are simply unlucky. Some are many of those things. But all of them argue that in the hardest moment of their lives, they have been largely abandoned, and even punished, by the rest of us. So we hope you’ll do more than dismiss, or judge, the people in this video, and instead listen to them.

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Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch.

In this sequence from the writer and director Alex Garland’s latest film, “Civil War,” about a modern-day conflict that has broken out in America, journalists making their way to Washington, D.C., stumble across a field set up with Christmas decorations. But the situation couldn’t be less festive. A sniper is set up in a house on a hill above the field. And men in uniform are trying to take the sniper down.

Discussing the scene and its surrealist imagery in his narration, Garland said that in scouting locations, he and his crew came across decorations that were intact more or less as you see them in the film. He said they initially belonged to “a guy who’d put on a winter wonderland festival. People had not dug his winter wonderland festival and he’d gone bankrupt. And he decided just to leave everything just strewn around on a farmer’s field.”

Garland’s aim for the sequence, he said, was to show that “when things get extreme, the reasons why things got extreme no longer become relevant. And the knife edge of the problem is all that really remains relevant.”

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Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch.

What’s the best way to narratively portray a life that has become nearly impossible to manage? How about with a one-take montage sequence that seems nearly impossible to pull off?

That’s what Rudy Mancuso goes for in his debut feature, “Música” (streaming on Amazon Prime Video), which he directed, composed, co-wrote (with Dan Lagana) and stars in.

The character he plays, Rudy, has been dividing his attention between the three closest women in his life: his girlfriend, Haley (Francesca Reale), with whom he’s hit difficult times; his mother, Maria (Maria Mancuso), and a new woman he is getting to know, Isabella (Camila Mendes). He’s lying to all three. “On the page, it was actually called the ‘Rhythm of Lies,’” Mancuso said in his narration.

The scene is shot on a warehouse stage, with sets flying in and out to represent the different encounters Rudy has with these women. He moves from setup to setup, changing his clothes along the way, with lighting cues syncopated to the music. (Watch for that moment where Rudy starts a kiss with one woman, freezes in place and finishes the kiss with another woman.)

Mancuso said that he and his crew needed half a day of rehearsal and a half a day of shooting 14 takes to pull it all off along.

“This would not have been possible without the hard work of my production designer, Patrick Sullivan, and my amazing DP, Shane Hurlbut,” he said.

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Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch.

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Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch.

As America closes in on a major election, mistrust is brewing around the mysterious government entity that’s now denounced in scary-sounding terms — “the deep state” and “the swamp.” What do those words even mean? Who exactly do they describe?

We went on a road trip to find out. As we met the Americans who are being dismissed as public enemies, we discovered that they are … us. They like Taylor Swift. They dance bachata. They go to bed at night watching “Star Trek” reruns. They go to work and do their jobs: saving us from Armageddon.

Sure, our tax dollars pay them, but as you’ll see in the video above, what a return on our investment we get!

When we hear “deep state,” instead of recoiling, we should rally. We should think about the workers otherwise known as our public servants, the everyday superheroes who wake up ready to dedicate their careers and their lives to serving us. These are the Americans we employ. Even though their work is often invisible, it makes our lives better.

But if Donald Trump is re-elected and enacts Schedule F, that could change. He would have the power to eviscerate the so-called deep state and replace our public servants with people who work for him, not us.

In the video above, you’ll meet a few of our hard-working American public servants, and we hope you’ll agree that they’re not scary at all. In fact, they’re kind of awesome.

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Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch.