The #MeToo movement of recent years started in the entertainment industry, with revelations about moguls such as Harvey Weinstein and CBS’s Les Moonves, and, since 2017, television writers have been grappling with how to address sexual harassment for a modern audience. Emily Nussbaum, The New Yorker’s television critic, examined the issue in a recent essay. Some of the shows she thinks are doing the best job are actually comedies, from the strange animated series “Tuca and Bertie” to the deeply cynical “Veep.” “Maybe there’s been a hesitation to deal with this head-on in drama,” she tells David Remnick, “because drama does, to some extent, at least, require sincerity, and sincerity can be uncomfortable in talking about trauma and assault.” One of Nussbaum’s favorites from this “deluge” of plotlines comes on the show “High Maintenance,” where, instead of some appalling revelation of misconduct, we watch a character reassessing a seemingly minor incident with fresh eyes. “He’s clearly thought about this in a post-MeToo way, as ‘Is this the shitty thing that I did that traumatized a woman that I know? . . . How do I take responsibility for it?’ ” Plus, Ruth Franklin on the late poet Mary Oliver, whose spirituality, love of nature, and unusual directness made her one of the most beloved poets of our time.

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“What did the council decide on item 42?” — answered with the speaker and the moment.