The New Yorker Radio Hour

As a child, Bradley Cooper would mime conducting an orchestra, and he asked for a baton from Santa. Decades later, as a filmmaker, he fulfilled his childhood dreams in the acclaimed new film “Maestro.” Cooper co-wrote and directed the movie, and co-stars as Leonard Bernstein, perhaps the greatest American conductor ever. In a pivotal scene, Cooper conducts the famous London Symphony Orchestra with a full chorus, in real time, through a performance of Mahler, which Cooper calls the “scariest thing I’ve ever done.” But the movie focusses less on Bernstein’s well-documented musical triumphs than on his extremely complicated personal life and marriage—as a proudly nonmonogamous bisexual—to the actress Felicia Montealegre, who is played in the film by Carey Mulligan. “I had no desire to make a biopic,” Cooper tells David Remnick, especially of a man whose life is so well documented. Despite his proven track record as a box-office draw and critical success, Cooper found himself on the receiving end of noes  from major studios when he shopped “Maestro” around. “It makes sense what they [said],” Cooper concedes: “ ‘It’s a huge budget. It’s a subject matter that no one will be interested in. We just can’t justify it.’ ” With rave reviews and a holiday release setting his film up for a likely awards-season run, Cooper should feel vindicated. “This movie… I made absolutely fearlessly,” Cooper says. “And I knew I had to because that’s a huge element in Bernstein’s music. It is fearless.”

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The American public’s increasing fascination with artificial intelligence—its rapid advancement and ability to reshape the future—has put the computer scientist Geoffrey Hinton in an awkward position. He is known as the godfather of A.I. because of his groundbreaking work in neural networks, a branch of computer science that most researchers had given up on, while Hinton’s advances eventually led to a revolution.  But he is now fearful of what it could unleash. “There’s a whole bunch of risks that concern me and other people. . . . I’m a kind of latecomer to worrying about the risks, ” Hinton tells The New Yorker’s Joshua Rothman. “Because very recently I came to the conclusion that these digital intelligences might already be as good as us. They’re able to communicate knowledge between one another much better than we can.” Knowing the technology the way he does, he feels it’s not currently possible to limit the intentions and goals of an A.I. that inevitably becomes smarter than humans.  Hinton remains a researcher and no longer has a financial stake in the success of A.I., so he is perhaps franker about the downsides of the A.I. revolution that Sam Altman and other tech moguls.  He agrees that it’s “not unreasonable” for a layperson to wish that A.I. would simply go away, “but it’s not going to happen. … It’s just so useful, so much opportunity to do good.” What should we do? Rothman asks him. “I don’t know. Smart young people,” Hinton hopes, “should be thinking about, is it possible to prevent [A.I.] from ever wanting to take over.” 

Rothman’s Profile of Geoffrey Hinton appears in a special issue of The New Yorker about artificial intelligence.  

Sam Altman, the C.E.O. of OpenAI (which created ChatGPT), spoke with David Remnick on this episode of The New Yorker Radio Hour. 

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Ambassador Deborah Lipstadt is a noted historian of antisemitism, and serves the State Department as Special Envoy to Monitor and Combat Antisemitism. Violence and threats against Jews have been surging for years.  “We’ve been seeing [antisemitism] coming from all ends of the political spectrum, and in between,” Lipstadt tells David Remnick. “We see it coming from Christians, we see it coming from Muslims, we see it coming from atheists.  We see it coming from Jews.”  In the aftermath of Israel’s military strikes on Gaza, particularly on college campuses, she is very concerned about widespread sentiments that deny Israel a right to exist. While she doesn’t believe students or faculty should be penalized for expressing solidarity with Palestinians or Israelis, she believes that the language used by some influential people “has served as a green light to the haters,” she says. “It sort of takes the lid off.” And ethnic prejudice, she notes, rarely limits itself. “Once you start dealing in the stereotypes of that one group, you’re going to start dealing with the stereotypes in another group.”

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For the follow-up to her acclaimed and controversial début feature film, “Promising Young Woman,” the writer and director Emerald Fennell (also well known as an actor on “The Crown”) has made a dark satire of not just aristocracy but our collective preoccupation with it.  “Saltburn” follows a college student who joins a wealthy classmate at his family’s mysterious old country estate, which the director shot as “a sex object.” Fennell is very familiar with this world—albeit from a distance. Her father was a jeweller who sold work to Elton John and Madonna, and Fennell went to the same boarding school as Kate Middleton. “As a female filmmaker, more than any other kind, you’re expected to be a memoirist. People are more comfortable with that,” she tells The New Yorker’s Michael Schulman. Her previous film, “Promising Young Woman,” about a woman’s attempt to hold a rapist accountable, had an extremely dark ending that infuriated many viewers, but that Fennell found to be more honest. “I don’t think of myself as a liar at all. I hope I’m very honest—but that’s what a liar would say.”

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In a relatively short period of time, Amazon has exerted an enormous amount of influence over a broad spectrum of American life. From the groceries we buy to the movies and television shows we watch, Amazon has been setting the prices and driving potential competition out of business. Its prices may seem low, but “Amazon has actually quietly been hiking prices for consumers in ways that are not always clearly visible,” the Federal Trade Commission chair, Lina Khan, tells David Remnick, but “can result in consumers paying billions of dollars more than they would if there was actually competition in the market.” Khan, who is thirty-four, published an influential paper about applying antitrust law to Amazon before she was even out of law school; now she is putting those ideas into practice in a suit against the company. “Amazon’s own documents reveal that it recognizes that these merchants live in constant fear of Amazon’s punishments and punitive tactics,” Khan said. “Ultimately, our antitrust laws are about preserving open markets but also making sure people have the economic liberty to not be susceptible to the dictates of a single company.” (The company’s response says that the F.T.C.’s argument is “wrong on the facts and the law.”)

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As Israel marks one month since the deadliest terrorist attack in its history, David Remnick sits down with Brooke Gladstone, the host of the podcast “On the Media,” to talk about reporting on the conflict. He spent a week in Israel as people were reeling from the horrors of October 7th and as the Israeli government was launching an unprecedented campaign against Hamas in Gaza. Remnick details the process behind “The Cities of Killing,” his ten-thousand-word piece for The New Yorker’s magazine. “I’m an American, I’m a Jew, I’m a reporter, and I try to call on those identities, recognize whatever powers I have, but also weaknesses, to tell the story as best I can,” Remnick tells Gladstone. “And, as I say in the beginning of the piece, knowing that it wasn’t just rhetoric, it was confessional almost. Knowing that I would, at least for many readers, fail.”

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As the Black Lives Matter movement brought sustained national attention to police shootings of unarmed Black people, there have been many efforts made around the country to reform policing. The movement also became associated with police abolition and the controversial call for defunding. Kai Wright, the host of WNYC’s “Notes from America,” convenes a panel to look at the effects of the movement on policing, talking to the policy analyst Samuel Sinyangwe, of Mapping Police Violence; the attorney Anya Bidwell, of the Institute for Justice; and Michael White, a professor at Arizona State University’s School of Criminology and Criminal Justice. Assessing the results of reform efforts remains difficult, because obstacles exist even to the collecting of data. “We have a system of eighteen thousand different law-enforcement agencies, each with their own set of policies and practices, their own department culture,” Sinyangwe says, and yet certain patterns are repeated year after year: Black people, he says, “are about three times more likely to be killed than white people” by the police.  The group explores the widespread adoption of body cameras, and the push to change legal landscape around qualified immunity, which make it difficult to prosecute police officers even in egregious cases of the use of force. Bidwell argues that, “as long as we have a system of checks and balances that operates properly,” it is possible to reduce crime, while keeping the public and officers safe. “If everybody does what they’re supposed to do, then we can actually have a win-win-win situation.” And although there have been reductions in arrests for low-level, non-violent offenses, many systemic, deeply troubling trends in police departments have continued unabated, including a relatively stable number of a thousand and fifty to twelve hundred people killed by police annually.

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Sybrina Fulton was thrust into the national spotlight just over a decade ago for the worst possible reason: her son, Trayvon Martin – an unarmed teenage boy returning from the store – was shot.  Her son’s body was tested for drugs and alcohol, but not the self-appointed neighborhood watchman George Zimmerman, who claimed self-defense and was acquitted.  “Trayvon Martin could have been anybody’s son at seventeen,” Fulton tells David Remnick. He was an affectionate "mama’s boy” who wound up inspiring a landmark civil rights movement: Black Lives Matter. BLM became a cultural touchstone and a political lightning rod, but all its efforts can’t make Fulton whole again. “I think I’m going to be recovering from his death the rest of my life,” she says. “It’s so unnatural to bury a child,” she says. Fulton became an activist and founded Circle of Mothers, which hosts a gathering for mothers who have lost children or other family members to gun violence. Plus, the poet Nicole Sealey, whose “erasure” of the Department of Justice’s Ferguson Report turns a damning account of police killing – that of Michael Brown – into a work of lyric poetry, imagining a different future buried in the present.

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In a new miniseries from “On the Media,” “We Don’t Talk About Leonard,” the ProPublica reporters Andrea Bernstein, Andy Kroll, and Ilya Marritz investigate the background of the man who has played a critical role in the conservative takeover of America’s courts via the Federalist Society: Leonard Leo. It traces Leo’s path from humble roots in middle-class New Jersey (he was nicknamed Moneybags Kid) to a mansion in Maine where, last year, he hosted a fabulous party on the eve of the Supreme Court decision to tank Roe.

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After returning from a week of reporting in Israel, David Remnick has two important conversations about the conflict between Israelis and Arabs both in and outside of Gaza. First, he speaks with Yonit Levi, a veteran news anchor on Israeli television, about how her country is both reeling from the October 7th terrorist attacks perpetrated by Hamas, and grappling with how to strike at Hamas as the country prepares for an invasion that would be catastrophic for Palestinians. Meanwhile, the Palestinian academic Sari Nusseibeh maintains that peace is possible, if the influence of Hamas and the Israeli far right can be curtailed. 

David Remnick’s Letter from Israel appears in The New Yorker, along with extensive coverage of the conflict. 

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Much of the peril and persecution of the McCarthy era is well-trodden territory in historical dramas, but the burden that the Red Scare placed on the L.G.B.T. community is another story. The historian and writer Thomas Mallon published a novel called “Fellow Travelers,” drawing from real-life events, about a gay couple living under the shadow of the McCarthy witch hunts; it has now been adapted into a Showtime miniseries. “The government was really on a tear when it came to dismissing gays from the State Department—but really all over in the early fifties,” Mallon tells David Remnick. “So really any gay romance had to be tremendously clandestine.” Gay Americans targeted by McCarthy and his acolytes were forced to assert not only their patriotism but their humanity, too. “The book is full of people trying to reconcile things which society and the government are telling them are irreconcilable,” Mallon says. “But the people themselves don’t see any moral or logical reason why.” Mallon talks about the political climate in nineteen-fifties Washington and about the pioneering L.G.B.T. activist who picketed the White House years before Stonewall.

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The director Spike Lee looked back at the length and breadth of his career so far during a sit-down with David Remnick at the New Yorker Festival. Although Lee’s storied filmography may be familiar to movie buffs, few are likely to know as much about his humble beginnings as the scion of a celebrated, but often unemployed, musician—the late Bill Lee. The young Spike Lee bore some resentment toward his father, an upright-bass player who eschewed countless gigs because he refused to play an electric bass guitar. “[I]t wasn’t until later that I saw that, yo, this is his life. He was not going to play music that he didn’t want to play.” As an artist in his own right, Lee has taken a similar approach to filmmaking. He has tackled a myriad of genres and difficult subject matter, without sacrificing his unique voice and social consciousness to satisfy Hollywood. “Some things you just can’t compromise,” he told Remnick. Now in his fourth decade as a filmmaker, Lee hopes to one day make a long-gestating bio-pic about Joe Louis and have his career last as long as that of one of his idols. “Kurosawa was eighty-six!” the sixty-six-year-old Lee said, of the Japanese filmmaker’s retirement age. “I have to at least get to Kurosawa.” 

Plus, the sports writer Louisa Thomas talks with the New Yorker Radio Hour’s Adam Howard about the stars to watch in the N.B.A.’s new season. 

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When Rodrigo Duterte ran for the presidency of the Philippines and won, in 2016, the Western press noted the similarities between this unconventional candidate and Donald Trump—who also liked to casually espouse violence on the campaign trail and beyond.  Duterte used provocative and obscene language to tap into the country’s fears about a real, albeit overstated, drug problem. “Every drug addict was a schizophrenic, hallucinatory, will rape your mother and butcher your father,” as reporter Patricia Evangelista puts it, “and if he can’t find a child to rape, he’ll rape a goat.” But, unlike Donald Trump, Duterte made good on his promise of death. More than twenty thousand extrajudicial killings took place over the course of his six-year term in office, according to human-rights groups—and Duterte remained quite popular as bodies piled up in the streets. Reporting for the news site Rappler, Evangelista confronted the collateral damage when Durterte started to enact his “kill them all” policies. “I had to take accountability,” she tells David Remnick. Her book, “Some People Need Killing,” is published in the U.S. this week, and Evangelista has left the Philippines because of the danger it puts her in. “I own the guilt,” Evangelista says. “How can I sit in New York, when the people whose stories I told, who took the risk to tell me their stories, are sitting in shanties across the country and might be at risk because of things they told me.”

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The renowned German filmmaker Werner Herzog has become known for many things: his notoriously ambitious film productions like “Fitzcarraldo” and “Aguirre, The Wrath of God”; his expansive documentaries; and his mellifluous voice, which he has used to great effect lately as an actor in productions like “Jack Reacher'' and “The Mandalorian.” But, according to Herzog himself, his fabulist work as his own biographer deserves just as much praise. “That’s my approach, that is beyond outside of facts,” Herzog tells David Remnick. “And it requires stylizations, it requires somehow shaping, creating something like poetry, a sense of poetry, that gives us an approach into truth.” In a wide-ranging conversation, the eighty-one-year-old Herzog looks back on his career, his newfound success embracing the “self irony” of his persona (“I had to spread terror . . . I knew I would be good at it,” he deadpans about his “Reacher” role), and why he never watched a “Star Wars” film until recently. “I am somebody who reads, there is not a day where I do not read,” the prolific Herzog says. “I love what I do. I think I made—in the last two years—two books, three films, and I’m working on a new feature film, and I’m publishing a new book next year.”

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For roughly half a century, the singer Rubén Blades has been spreading the gospel of salsa music to every corner of the globe, but his status as an music icon was anything but assured. Despite having an interest in music at an early age, the Panamanian-born Blades was pursuing a law career. But when the tumultuous political climate in Panama forced his family into exile in the United States, Blades found his way back into the music industry—through a record-company mailroom. “My diploma was not accepted by the Florida Bar, so I didn’t know what to do. I felt useless,” Blades tells The New Yorker’s Graciela Mochkofsky. “Then all of the sudden I thought of calling Fania Records, which was the biggest salsa label at the time.” Through the subsequent years, Blades came to recognize the power of salsa as a vehicle for people from disparate backgrounds and ideologies to find “common ground.” “My goal from the beginning was not to become famous or rich,” Blades says. “My goal from the beginning was to communicate, to present a position and create a conversation.” Mochkofsky talks with him about serving in the Panamanian government and about his lengthy career as an actor; outside the Americas, more people might know Rubén Blades as Daniel Salazar on “Fear the Walking Dead” than as a living legend of salsa. 

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Despite months of discouraging news about extreme weather conditions, the former vice-president Al Gore still believes that there is a solution to the climate crisis clearly in sight. “We have a switch we can flip,” he tells David Remnick. The problem, as Gore sees it, is that a powerful legacy network of political and financial spheres of influence are stubbornly standing in the way. “When ExxonMobil or Chevron put their ads on the air, the purpose is not for a husband and wife to say, ‘Oh, let’s go down to the store and buy some motor oil.’ The purpose is to condition the political space so that they have a continued license to keep producing and selling more and more fossil fuels,” Gore says. But it’s also what he describes as our ongoing “democracy crisis” that’s playing a factor as well. He believes lawmakers who know better are turning a blind eye to incontrovertible data for short-term political gain. “The average congressman spends an average of five hours a day on the telephone, and at cocktail parties and dinners begging lobbyists for money to finance their campaigns,” Gore says. Still, Gore says he is cautiously optimistic. “What Joe Biden did last year in passing the so-called Inflation Reduction Act . . . was the most extraordinary legislative achievement of any head of state of any country in history,” Gore says, adding that temperatures will stop going up “almost immediately” if we reach a true net zero in fossil-fuel emissions. “Half of all the human-caused greenhouse-gas pollution will have fallen out of the atmosphere in as little as twenty-five to thirty years.” 

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In this bonus episode, the hosts of Critics at Large dissect Walter Isaacson’s new biography of Elon Musk, asking how it reflects ideas about power, money, cults of personality—from “Batman” to “The Social Network.” The critics examine how, in recent years, the idea of the unimpeachable Silicon Valley founder has lost its sheen. Narratives, such as the 2022 series “WeCrashed,” tell the story of startup founders who make lofty promises, only to watch their empires crumble when those promises are shown to be empty. “It dovetails for me with the disillusionment of millennials,” Fry says, pointing to the dark mood that the 2007-08 financial crisis and the 2016 election brought to the country. “There’s no longer this blind belief that the tech founder is a genius who should be wholly admired with no reservations.” 

This is a preview of The New Yorker’s new Critics at Large podcast. Episodes drop every Thursday. 

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Throughout the Russian invasion of Ukraine, David Remnick has talked with Stephen Kotkin, a senior fellow at the Hoover Institution who is deeply informed on U.S.-Russia relations, and a biographer of Stalin. With the Ukrainian counter-offensive proceeding very slowly, Kotkin says that Ukraine is unlikely to “win the peace” on the battlefield; an armistice on Zelensky’s terms—although they may be morally correct—would require the defeat of Russia itself. Realistically, he thinks, Ukraine must come to accept some loss of territory in exchange for security guarantees. And, without heavy political pressure from the U.S., Kotkin tells David Remnick, no amount of military aid would be sufficient. “We took regime change off the table,” Kotkin notes regretfully. “That’s so much bigger than the F-16s or the tanks or the long-range missiles because that’s the variable . . . . When he’s scared that his regime could go down, he’ll cut and run. And if he’s not scared about his regime, he'll do the sanctions busting. He’ll do everything he’s doing because it’s with impunity.”

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Being called the voice of a generation might seem a little off to someone born after the millennium. But Olivia Rodrigo’s songs clearly hit home for Gen Z. She turned twenty this year, and has already been one of the biggest stars since 2021, when “Drivers License” became the No. 1 song on the planet. She won three Grammy Awards that year, including Best New Artist. One of her first public performances was on “Saturday Night Live.” Rodrigo’s second album, “Guts,” came out this month, and she remains proud to channel the frustrations of young people. “My favorite songs to sing are the really angry ones,” she told David Remnick. “Especially on tour, I’ll look out at the audience and sometimes see these very young girls, seven or eight, screaming these angry songs, so hyped and so enraged . . . . That’s not something you see on the street, but it’s just so cool that people get to express all those emotions through music.” 

Rodrigo talked with David Remnick about the lineage of singer-songwriters like Carole King, and dealing with social media as a young celebrity.

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The daughter of eccentric aristocrats marries a Wall Street tycoon of dubious ethics during the Roaring Twenties. That sounds like a plot that F. Scott Fitzgerald might have written, or Edith Wharton. But “Trust,” by the writer Hernan Diaz, is very much of our time. The novel is told by four people in four different formats, which offer conflicting accounts of the couple’s life, the tycoon Andrew Bevel’s misdeeds, and his role in the crash of 1929. And though a book like “The Great Gatsby” tends to skirt around the question of how the rich make their money, Hernan Diaz puts that question at the heart of “Trust.” “What I was interested in, and this is why I chose finance capital, I wanted a realm of pure abstraction,” he tells David Remnick. Diaz was nearly unknown when “Trust,” his second novel, won the Pulitzer Prize this year.

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Twenty years after her breakout on “American Idol,” Kelly Clarkson released an album called “Chemistry” that deals with the long arc of a relationship and her recent divorce. She sat down to talk with Hanif Abdurraqib, a music writer passionate about the craft of songwriting. “This literally was written in real time,” Clarkson reflects. “That was me being indecisive. Man, I have kids. Do I want to do this? Can I try again?” But writing about divorce as one of the best-known celebrities in America is very different from a young artist’s heartbreak anthem. “It’s easy to hide in metaphors when it’s not the biggest thing that’s ever happened,” she says. “Everyone’s going to know. Unfortunately my life is very public, especially in the rough times.” 

Plus, Robert Samuels, a Pulitzer Prize-winning writer on politics and race, shares his secret indulgence: watching classic figure-skating routines on YouTube. 

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For twenty-some years, Naomi Klein has been a leading thinker on the left. She’s especially known for the idea of disaster capitalism: an analysis that the forces of big business will exploit any severe disruption to take over more space in our lives. She was often confused with another prominent political writer, Naomi Wolf—once a feminist on the left who has, in recent years, embraced conspiracy theories on the right and is now on good terms with Steve Bannon. Klein’s new book, “Doppelganger,” starts with this simple case of mistaken identity and broadens into an analysis of our political moment, which she describes as “uncanny” in the psychological sense. “Freud described the uncanny as that species of frightening that changes what was once familiar to something unfamiliar,” she tells the staff writer Jia Tolentino. “It’s that weirdness of ‘I think I know what this is, but it’s not what I think.’ ” Klein argues that the left and the right have become doppelgangers of one another—and that denialism regarding climate change has widened to any number of topics, including the claim that Joe Biden is dead and is being played by an actor. “Whenever you don’t like reality, you can just say that it’s not real,” she says.

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About 1.2 million people in the United States experience homelessness in a given year—you could nearly fill the city of Dallas with the unhoused. But there are proven solutions. For the chronically homeless, a key strategy is supportive housing—providing not only a stable apartment, but also services like psychiatric and medical care on-site. The New Yorker contributor Jennifer Egan spent the past year following several individuals as they transitioned into a new supportive-housing building in Brooklyn. She found that this housing model works and argues that it could be scaled up nationally for less than the cost of emergency services for the homeless. But “no one,” Egan notes ruefully, “wants to see that line item in their budget.” Plus, Joe Garcia, an inmate serving a life sentence for murder in California’s High Desert State Prison, reads from his essay “Listening to Taylor Swift in Prison,” recently published by The New Yorker.

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At the end of this month, after more than two decades, Netflix is phasing out its DVD-rental business. While that may not come as a surprise given the predominance of streaming platforms, it’s a great loss to cinephiles, according to the New Yorker’s Richard Brody. Streaming services routinely drop titles from circulation, and amazing films may be lost to moviegoers. “Physical media is what protects us from being at the mercy of streaming services for our movies and our music,” Brody says. “It’s like a library at home.” Brody gives the producer Adam Howard a peek into his own personal stash of films, and picks a few DVDs of films he would take with him in a fire: Godard’s “King Lear” (“the greatest film ever made – literally”); “Chameleon Street,” by Wendell B. Harris, Jr.; “Stranded” and “The Plastic Dome of Norma Jean,” by Juleen Compton; and a box set of five films by John Cassavetes.

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David Grann is a staff writer for The New Yorker and the author of two nonfiction books that topped the best-seller list this summer: “The Wager” and “Killers of the Flower Moon,” from 2017, which Martin Scorsese has adapted into a film opening in October. Grann is among the most lauded nonfiction writers at The New Yorker; David Remnick says that “his urge to find unique stories and tell them with rigor and style is rare to the vanishing point.” Grann talks with Remnick about his beginnings as a writer, and about his almost obsessive research and writing process. “The trick is how can you tell a true story using these literary techniques and remain completely factually based,” Grann says. “What I realized as I did this more is that you are an excavator. You aren’t imagining the story—you are excavating the story.” Grann recounts travelling in rough seas to the desolate site of the eighteenth-century shipwreck at the heart of “The Wager,” his most recent book, so that he could convey the sailors’ despair more accurately. That book is also being made into a film by Scorcese. “It’s a learning curve because I’ve never been in the world of Hollywood,” Grann says. “You’re a historical resource. … Once they asked me, ‘What was the lighting in the room?’ I thought about it for a long time. That’s something I would not need to know, writing a book.” But Grann is glad to be in the hands of an expert, and keep his distance from the process. “I’m not actually interested in making a film,” he admits. “I’m really interested in these stories, and so I love that somebody else with their own vision and intellect is going to draw on these stories and add to our understanding of whatever this work is.”

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Henry Worsley was a husband, father, and an officer of an élite British commando unit; also a tapestry weaver, amateur boxer, photographer, and collector of rare books, maps, and fossils. But his true obsession was exploration. Worsley revered the Antarctic explorer Ernest Shackleton and he had led a 2009 expedition to the South Pole. But Worsley planned an even greater challenge. At fifty-five, he set out to trek alone to ski from one side of the Antarctic continent to the other, hauling more than three hundred pounds of gear and posting an audio diary by satellite phone. The New Yorker staff writer David Grann wrote about Worsley’s quest, and spoke with his widow, Joanna Worsley, about the painful choice she made to support her husband in a mortally dangerous endeavor.

This segment originally aired March 2, 2018.

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David Souter is one of the most private, low-profile Justices ever to have served on the Supreme Court. He rarely gave interviews or speeches. Yet his tenure was anything but low profile. Deemed a “home run” nominee by the George H. W. Bush Administration, Souter refused to answer questions during his confirmation hearing about pressing issues—most critically, about abortion rights and Roe v. Wade, which Republicans were seeking to overturn. He was confirmed overwhelmingly. Then, in Planned Parenthood v. Casey and other decisions, he defied the expectations of the Party that had nominated him. Why? This episode, produced by WNYC Studios’ “More Perfect” and hosted by Julia Longoria, explains how “No More Souters” became a rallying cry for Republicans and how Souter’s tenure on the bench inspired a backlash that would change the Court forever.

You can listen to more episodes of “More Perfect” here.

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The Korey Stringer Institute at the University of Connecticut was named after an N.F.L. player who died of exertional heatstroke. The lab’s main research subjects have been athletes, members of the military, and laborers. But, with climate change, even mild exertion under extreme heat will affect more and more of us; in many parts of the United States, a heat wave and power outage could cause a substantial number of fatalities. Dhruv Khullar, a New Yorker contributor and practicing physician, visited the Stringer Institute to undergo a heat test—walking uphill for ninety minutes in a hundred-and-four-degree temperature—to better understand what’s happening. “I just feel puffy everywhere,” Khullar sighed. “You’d have to cut my finger off just to get my wedding ring off.” By the end of the test, Khullar spoke of cramps, dizziness, and a headache. He discussed the dangers of heatstroke with Douglas Casa, the lab’s head (who himself nearly died of it as a young athlete). “Climate change has taken this into the everyday world for the everyday American citizen. You don’t have to be a laborer working for twelve hours, you don’t have to be a soldier in training,” Casa tells him. “This is making it affect so many people even just during daily living.”

Although the treatment for heat-related illness is straightforward, Casa says that implementation of simple measures remains challenging—and there is much we need to do to better prepare for the global rise in temperature.

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Robin Wall Kimmerer is an unlikely literary star. A botanist by training—a specialist in moss—she spent much of her career at the State University of New York’s College of Environmental Science and Forestry. But, when she was well established in her academic work, having “done the things you need to do to get tenure,” she launched into a different kind of writing; her new style sought to bridge the divide between Western science and Indigenous teachings she had learned, as a member of the Citizen Potawatomi Nation, about the connections between people, the land, plants, and animals. The result was “Braiding Sweetgrass,” a series of essays about the natural world and our relationship to it. The book was published by Milkweed Editions, a small literary press, and it grew only by word of mouth. Several years later, it landed on the Times best-seller list, and has remained there for more than three years; fans have described reading the essays as a spiritual experience. Kimmerer herself was recently recognized with a MacArthur Fellowship. Parul Sehgal, who writes about literature for The New Yorker, went to visit Kimmerer on the land she writes about so movingly, to talk about the book’s origin and its impact on its tenth anniversary. “I wanted to see what would happen if you imbue science with values,” Kimmerer told her. She is an environmentalist, but not an activist per se; her ambition for her work is actually larger. “So much of the environmental movement to me is grounded in fear,” she explains. “And we have a lot to be afraid about—let’s not ignore that—but what I really wanted to do was to help people really love the land again. Because I think that’s why we are where we are: that we haven’t loved the land enough.”

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The New Yorker first published a short story by Tessa Hadley in 2002. Titled “Lost and Found,” it described a friendship between two women who had been close since childhood.  Hadley’s fiction is often consumed with relationships at this scale: tight dramas close to home. She captures, within these relationships, an extraordinary depth and complexity of emotion. The New Yorker recently published its thirtieth story from Hadley—a higher count than any other fiction writer in recent times. That figure is particularly remarkable because Hadley had such a late start to her career, publishing her first work of fiction in her forties. She talks with the New Yorker fiction editor Deborah Treisman about her long struggle to stop imitating the writing of others, instead telling stories authentic to her own experience and voice. “I was just a late developer, and I was trying to write other people’s novels for all that time,” she says. Treisman also asks Hadley about why her work has been labelled “domestic fiction” by many critics. The term is disproportionately applied to female writers, and “tends to have a bit of condescension to it,” Hadley says. But she is willing to at least consider whether her work is too focussed on certain kinds of bourgeois-family relationships. “I almost completely accept the challenge,” she tells Treisman. “I think one should feel perpetually slightly on edge as to whether your subject matter justifies the art.”

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Even in a summer of record-breaking heat and disasters, Republican Presidential candidates have ignored or mocked climate change. But some conservative legislators in Congress recognize that action is necessary. David Remnick talks with a leader of the Conservative Climate Caucus about her party’s stance on climate change, her belief that fossil fuels cannot be rapidly phased out, and the problems she sees with the Inflation Reduction Act. Then, the authoritative climate reporter Elizabeth Kolbert talks with Ben Jealous, who was recently named executive director of the Sierra Club, about his strategy for building support in Republican-led states.

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The author Esmeralda Santiago has been writing about Puerto Rico and questions of immigration and identity since the early nineties. But, in 2008, she suffered a stroke that left her unable to decipher words on a page. In the months that followed, she relied on some of the same strategies she’d used to teach herself English after moving to the United States as a young teen-ager—checking out children’s books from the library, for example, to learn basic vocabulary. Santiago’s latest book, “Las Madres,” includes a character named Luz who goes through a similar experience after a traumatic brain injury. “That sense stayed with me long after I was over that situation—that feeling between knowledge and ignorance,” she tells the staff writer Vinson Cunningham. “For me, Luz is almost representative of Puerto Rico itself. We have this very long history that we don’t necessarily have access to. . . . Those of us who live outside of the island, we live the history but we don’t really know it.”

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The practice of legacy admissions—preferential consideration of the children of alumni—has emerged as a national flash point since the Supreme Court banned affirmative action in June. Even some prominent Republicans are joining the Biden Administration in calling for its end. David Remnick speaks with the U.S. Education Secretary, Miguel Cardona, about the politics behind college admissions. Cardona sees legacy preference as part of a pattern that discourages many students from applying to selective schools, but notes that it is not the whole problem. How can access to higher education, he asks, be more equitable when the quality of K-12 education is so inequitable?   

Plus, Jeannie Suk Gersen, a professor at Harvard Law School, looks at the problems facing admissions officers now that race cannot be a consideration in maintaining diversity. Gersen has been reporting for The New Yorker on the legal fight over affirmative action and the movement to end legacy admissions. She speaks with the dean of admissions at Wesleyan University, one of the schools that voluntarily announced an end to legacy preference after the Supreme Court’s decision on affirmative action. “So far, the responses have been overwhelmingly positive,” Amin Abdul-Malik Gonzalez tells her. “But we’re obviously some time removed from the results of the decision. . . . I think it’s both symbolic and potentially substantive in terms of signalling our value to not have individually unearned benefits.”

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James McBride’s new novel, “The Heaven & Earth Grocery Store,” centers on the discovery of a skeleton at the bottom of a well in a small town in Pennsylvania. What unfolds is the story of a young Black boy raised by a Jewish woman decades earlier, a story that has been closely held secret among the communities that call the area home. McBride has been writing at the intersection of race, Blackness, whiteness, and Judaism in America since his 1995 memoir “The Color of Water,” a tribute to his own Jewish mother. He speaks with the staff writer Julian Lucas. “I want to read a book that makes me feel good about being alive,” McBride says. “If I want the bad things to happen, I’ll just read the New York Times. I want a book to take me to a place that I like to be.”

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Last month, the country singer Jason Aldean released a music video for “Try That in a Small Town,” a song that initially received little attention. But the video cast the song’s lyrics in a new light. While Aldean sings, “Try that in a small town / See how far ya make it down the road / ’Round here, we take care of our own,” images of protests against police brutality are interspersed with Aldean singing outside a county courthouse where a lynching once took place. Aldean’s defenders—and there are many—say the song praises small-town values and respect for the law, rather than promoting violence and vigilantism. The controversy eventually pushed the song to No. 1 on the Billboard Hot 100 chart. The staff writer Emily Nussbaum has been reporting from Nashville throughout the past few months on the very complicated politics of country music. On the one hand, she found a self-perpetuating culture war, fuelled by outrage; on the other, there’s a music scene that’s diversifying, with increasing numbers of women, Black artists, and L.G.B.T.Q. performers claiming country music as their own. “I set out to talk about music, but politics are inseparable from it,” Nussbaum tells David Remnick. “The narrowing of commercial country music to a form of pop country dominated by white guys singing a certain kind of cliché-ridden bro country song—it’s not like I don’t like every song like that, but the absolute domination of that keeps out all sorts of other musicians.” Nussbaum also speaks with Adeem the Artist, a nonbinary country singer and songwriter based in East Tennessee, who has found success with audiences but has not broken through on mainstream country radio. “I think that it’s important that people walk into a music experience where they expect to feel comforted in their bigotry and they are instead challenged on it and made to imagine a world where different people exist,” Adeem says. “But, as a general rule, I try really hard to connect with people even if I’m making them uncomfortable.”

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Alex Kotlowitz is known as a chronicler of Chicago, and of lives marred by urban poverty and violence. His books set in the city include “An American Summer,” “There Are No Children Here,” and “Never a City So Real.” Nevertheless, for some 40 years he has returned to a remote stretch of woods, summer after summer. At a young age, he found himself navigating a canoe through a series of lakes, deep in the woods along Minnesota’s border with Canada. This stretch of country is known as the Boundary Waters Canoe Area Wilderness. Larger than Rhode Island, it is a patchwork of more than a thousand lakes, so pristine you can drink directly from the surface. Now in his late sixties, Kotlowitz finds the days of paddling, the leaky tents, the long portages, and the schlepping of food (and alcohol) harder than before, but he will return to the Boundary Waters as long as he can. Last summer, he took a recorder with him on his annual canoe trip, capturing what has kept him coming back year after year. 

This segment originally aired on August 6, 2022.

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Twenty years ago, Regina Spektor was yet another aspiring musician in New York, lugging around a backpack full of self-produced CDs and playing at little clubs in the East Village—anywhere that had a piano, basically. But anonymity didn’t last long. She toured with the Strokes in 2003, and, once she had a record deal, her ambitions grew beyond indie music: she began writing pop-inflected anthems about love and heartbreak, loneliness and death, belief and doubt. Her 2006 album “Begin to Hope” went gold.  

“Home, Before and After” was released in 2022, six years after her previous studio album. To mark the occasion, Spektor sat down at a grand piano with Amanda Petrusich to play songs from the record and talk about the role of imagination in her songwriting and vocals. “I think that life pushes you—especially as an adult and especially when you’re responsible for other little humans—to be present in this logistical sort of way,” she says. “I try as much as possible to integrate fun, because I love fun. And I love beauty. And I love magic. . . . I will not have anybody take that away.”

Spektor performed “Loveology,” “Becoming All Alone,” and the older “Aprѐs Moi,” accompanying herself on piano. The podcast episode for this segment also features a bonus track, “Spacetime Fairytale.” 

This segment originally aired on June 10, 2022.

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Colson Whitehead is one of the most lauded writers working today. His 2016 novel “The Underground Railroad” won the National Book Award and the Pulitzer Prize for fiction; he won the Pulitzer again for his next novel, “The Nickel Boys,” in 2020.  His career is notable for hopping from genre to genre. As an artist, he tells David Remnick, “it seemed like, if you knew how to do something, why do it again?” Whitehead is again trying something new: a sequel. He’s following up “Harlem Shuffle,” his 2021 heist novel, bringing back the furniture salesman and stolen-goods fence Ray Carney. He talks to David Remnick about how he mined the language of mid-century furniture catalogues, and his interest in teasing out the nuance in his characters. “I’m exploring different ways of being a criminal and trying to think about who actually is bad,” Whitehead says. “Carney has this secret self, this criminal self. But I think all of us have these different uncivilized impulses in us that we have to tame in order to function in society.”

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In making “Oppenheimer,” which opens in theatres this weekend, the director Christopher Nolan relied on a Pulitzer Prize-winning 2005 biography of the father of the atomic bomb, “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer,” by Kai Bird and the late Martin J. Sherwin. Bird is credited as a writer of Nolan’s movie, and he spoke with David Remnick about the ambivalence that the scientist expressed publicly about the use of the bomb, which led to a McCarthyist show trial that destroyed his career and reputation.  “What happened to him in 1954 sent a message to several generations of scientists, here in America but [also] abroad, that scientists should keep in their narrow lane. They shouldn’t become public intellectuals, and if they dared to do this, they could be tarred and feathered,” Bird notes. “The same thing that happened to Oppenheimer in a sense happened to Tony Fauci.”

Plus, Greta Gerwig talks about her path to directing. Like “Barbie,” Gerwig’s two previous films as a director and writer are concerned with coming of age as a woman. Once criticized as a “bossy girl,” Gerwig recalls, she tamped down her instinct to direct, focusing early in her career on acting and then screenwriting. She told David Remnick how she finally gave herself permission to be a filmmaker.

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“When people think of the crack epidemic, they think of crime,” the journalist Donovan X. Ramsey tells David Remnick. “But they don’t necessarily know the ways that it impacted the most vulnerable—the ways that it changed the lives of people who sold it, who were addicted to it, who loved people who sold it or were addicted to it.” Ramsey’s new book, “When Crack Was King: A People’s History of a Misunderstood Era,” weaves the stories of four people who survived the epidemic into a historical analysis of how crack led to the erosion of dozens of American cities—but also of how the crack epidemic eventually ended. “I didn't know what life was like before crack,” Ramsey, who was born in Columbus, Ohio, in 1987, says. “I wanted to understand the ways that it shaped our society.”

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No Labels, which pitches itself as a centrist movement to appeal to disaffected voters, has secured a considerable amount of funding and is working behind the scenes to get on Presidential ballots across the country. The group has yet to announce a candidate, but “most likely we’ll have both a Republican and Democrat on the ticket,” Pat McCrory, the former governor of North Carolina and one of the leaders of No Labels, tells David Remnick. Senators Joe Manchin and Kyrsten Sinema are reportedly under consideration, but McCrory will not name names, nor offer any specifics on the group’s platform, including regarding critical issues such as abortion and gun rights. That opacity is by design, Sue Halpern, who has covered the group, says. “The one reason why I think they haven’t put forward a candidate is once they do that, then they are required to do all the things that political parties do,” she says. “At the moment, they’re operating like a PAC, essentially. They don’t have to say who their donors are.” Third-party campaigns have had significant consequences in American elections, and, with both Donald Trump and Joe Biden historically unpopular, a third-party candidate could peel a decisive number of moderate voters away from the Democratic Party. 

Plus, three New Yorker critics—Doreen St. Félix, Alexandra Schwartz, and Inkoo Kang—discuss why so many scripted and reality shows use psychotherapy as a central plotline.

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Nearly one in ten Americans owe significant medical debt, a burden that can become crippling as living costs and interest rates rise. Over the past decade, a nonprofit called RIP Medical Debt has designed a novel approach to chip away at this problem. The organization solicits donations to purchase portfolios of medical debt on the debt market, where the debt trades at steeply discounted prices. Then, instead of attempting to collect on it as a normal buyer would, they forgive the debt. The staff writer Sheelah Kolhatkar reports on one North Carolina church that partnered with RIP Medical Debt as part of its charitable mission. Trinity Moravian Church collected around fifteen thousand dollars in contributions to acquire and forgive over four million dollars of debt in their community. “We have undertaken a number of projects in the past but there’s never been anything quite like this,” the Reverend John Jackman tells Kolhatkar. “For families that we know cannot deal with these things, we’re taking the weight off of them.” Kolhatkar also speaks with Allison Sesso, the C.E.O. of RIP Medical Debt, about the strange economics of debt that make this possible.

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Robert F. Kennedy, Jr., the son of a former Attorney General and the nephew of President John F. Kennedy, has announced that he’s running for the Democratic Presidential nomination. He is nearly seventy years old, and has never held public office. “There’s nothing in the United States Constitution that says that you have to go to Congress first and then Senate second,or be a governor before you’re elected to the Presidency,” he tells David Remnick. With no prominent elected Democrat challenging President Biden, Kennedy is polling around ten to twenty per cent  among Democratic primary voters—enough to cause at least some alarm for Biden. He is best known as an influential purveyor of disinformation: that vaccines cause autism; that SSRIs and common anxiety medication might be causing the increase in school shootings; that “toxic chemicals” in the water supply might contribute to “sexual dysphoria” in children. He wrote a book accusing Anthony Fauci of helping to “orchestrate and execute 2020’s historic coup d’état against Western democracy.” He seems not at all concerned that Donald Trump, Roger Stone, Tucker Carlson, and Alex Jones—all of whom would like to see Biden bruised in a primary challenge—have praised him. “I'm trying to unite the country,” he says to Remnick. “You keep wanting to focus on why don't I hate this guy more? Why don't I hate on this person more?” Kennedy, who regularly attends recovery meetings for addiction to drugs including heroin, says that “the recovery program is an important part of my life, is an important part of keeping me mentally and physically and spiritually fit. . . . And my program tells me not to do that. I’m not supposed to be doing that.”

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This summer, the most anticipated tour (in close contest with Taylor Swift) is Beyoncé’s tour for her seventh studio album, “Renaissance,” which came out in 2022. Her previous record “was about the turbulence of [her] marriage and was in some ways a monument to marriage as an institution,” The New Yorker’s music critic Carrie Battan tells David Remnick. “Renaissance”—a homage to club music and queer culture—“is about breaking free of all of those chains. It’s about going to the club, and quitting your job and dancing and experiencing the ultimate freedom.” Battan talks through her favorite tracks on the record.

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Yevgeny Prigozhin’s march on Moscow last weekend, which killed more than a dozen Russian soldiers, fizzled as quickly as it began, but its repercussions are just beginning. The Wagner Group commander issued a video from Belarus claiming that he did not attempt a coup against Putin but a protest against the Defense Ministry.  David Remnick talks with Masha Gessen and the contributor Joshua Yaffa, who has written on the Wagner Group, about what lies ahead in Russia. Both feel that by revealing the reality of the war to his own following—a Putin-loyal, nationalist audience—Prigozhin has seriously damaged the regime’s credibility. If an uprising removes Putin from power, “there will be chaos,” Gessen notes. “Nobody knows what happens next. There’s no succession plan.”  Plus, Jill Lepore on amending the Constitution: suggesting a constitutional amendment these days is so far-fetched, it’s almost a punch line, but the Framers intended the document to be regularly amended, the historian Jill Lepore tells David Remnick. She argues that the failure to ratify the Equal Rights Amendment sank the country into a political quagmire from which it has not arisen, and her latest historial project brings awareness to the problem of amendability.

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In recent years, the attorney Jonathan Mitchell has become a crucial figure in the anti-abortion movement. Advising a Texas state senator, Mitchell developed Texas’s S.B. 8 legislation, which allows for civil lawsuits against individuals who have helped facilitate an abortion—acts like driving a patient to an appointment. The law was crafted to evade review by the Supreme Court in the period before Dobbs ended the precedent of Roe v. Wade. Opponents of the law have called it state-sponsored vigilantism. Mitchell is now representing a man seeking millions of dollars in civil damages from friends of his ex-wife—who helped her access abortion medication—in a wrongful death lawsuit. And yet, despite his conservative politics, Mitchell has something in common with some legal thinkers on the left: a critique of the Supreme Court and its extraordinary power. As an opponent of the belief in judicial supremacy, Mitchell asks, “Why should it be the Supreme Court and not Congress?” to have the last word on what the Constitution means. “Why should it be the Supreme Court and not a state legislature that might have a different view?” Mitchell rarely gives interviews, but he agreed to speak with The New Yorker’s contributor, Jeannie Suk Gersen, a professor at Harvard Law School who clerked for the former Supreme Court Justice David Souter.

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A year ago, the staff writer Emily Witt visited Fargo, North Dakota, to report on the Red River Women’s Clinic—the only abortion provider in the state. The Supreme Court’s Dobbs decision had just come down, and the clinic was scrambling to move across state lines, to the adjacent city of Moorhead, Minnesota. This spring, Witt returned to talk with Tammi Kromenaker, the clinic’s director. Kromenaker says the clinic’s new home has had some notable upsides—a parking lot that shields patients from protestors, for example—but North Dakota patients are increasingly fearful as they reach out for care, afraid even to cross the state line for an abortion. Plus, The New Yorker’s Alex Ross discusses John Williams, who has written scores for generations of blockbusters, including “Jaws,” “Star Wars,” “Harry Potter,” and many films of Steven Spielberg. Ross considers him the last practitioner of Hollywood’s grand orchestral tradition, and his retirement will mark the end of an era in music: at ninety-one years old, Williams has said that his score for “Indiana Jones and the Dial of Destiny” may be his last.

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The singer-songwriter Joy Oladokun recently released her fourth album, called “Proof of Life.” Raised near Phoenix, Oladokun had aspirations of becoming a preacher before turning to music in earnest. Like many of the great songwriters, she has a way of staring down the hardest parts of life with an offbeat sort of wit. The New Yorker’s Hanif Abdurraqib calls her a “writer’s writer,” someone “interested in the lyric as an opportunity to build narrative worlds.” Oladokun talked with him about seeing a video of Tracy Chapman performing in a Nelson Mandela tribute concert: “I was ten years old, watching someone who looked like me play the guitar,” she recalls. “I asked my parents for a guitar that Christmas.” Chapman remained a lasting influence on her as an artist. “You could just tell that what drove her to open her mouth in the first place was conviction. Belief in her values and belief that if people would only think about this, it would change the world.” While in New York on tour, Oladokun performed “Trying” and “Keeping the Light On”—both from her new record—live at WNYC. Plus, the fiction writer Bryan Washington on the joys of a Houston ice house.

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Dexter Filkins has reported on conflict situations around the world, and recently spent months reporting on the situation at the U.S.-Mexico border. In a recent piece, Filkins tries to untangle how conditions around the globe, an abrupt change in executive direction from Trump to Biden, and an antiquated immigration system have created a chaotic situation. “It’s difficult to appreciate the scale and the magnitude of what’s happening there unless you see it,” Filkins tells David Remnick. Last year, during a surge at the border, local jurisdictions struggled to provide humanitarian support for thousands of migrants, leading Democratic politicians to openly criticize the Administration. While hardliners dream of a wall across the two-thousand-mile border, “they can’t build a border wall in the middle of a river,” Filkins notes. “So if you can get across the river, and you can get your foot on American soil, that’s all you need to do.” Migrants surrendering to Border Patrol and requesting asylum then enter a yearslong limbo as their claims work through an overburdened system. The last major overhaul of the immigration system took place in 1986, Filkins explains, and with Republicans and Democrats perpetually at loggerheads, there is no will to fix a system that both sides acknowledge as broken. 

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On January 6th, 2021, “On the Media” reporter Micah Loewinger recorded the secret communications of the Oath Keepers on a walkie-talkie app called Zello. After reporting on the findings, Loewinger received a subpoena calling on him to testify in the first Oath Keepers criminal trial last year. In conversations with “On the Media” host Brooke Gladstone, “Death, Sex & Money” host Anna Sale, and Roger Parloff, a senior editor at Lawfare, Loewinger grapples with the consequences of his reporting, and explores what happens when a journalist is forced to testify in court. Plus, Loewinger looks at the nineteen-seventies Supreme Court case United States v. Caldwell to understand the legal precedents for journalists being called on to testify in federal investigations, the limits of First Amendment privileges for the press, and the sometimes tenuous relationship between journalists and the government. 

This episode originally aired on “On the Media” on May 26, 2023. 

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