The New Yorker Radio Hour

Jane Campion on “The Power of the Dog”

<p><span>Jane Campion’s “The Power of the Dog” opens like a classic Western: cattle are herded across the sweeping plains of Montana, with imposing mountains in the distance. But the plot of the film, based on a 1967 novel by Thomas Savage, isn’t exactly a Western. It’s a family drama about two brothers who share in the ranching business but couldn’t be more different, and what happens when one of them brings his new wife and her teen-age son to live on the ranch. “</span><span>The Power of the Dog” is nominated for twelve Academy Awards, the most of any film this year, including Best Picture, Best Director, and Best Actor</span><span>. Campion talks with David Remnick about Benedict Cumberbatch’s starring performance; her experience working with Harvey Weinstein, and how #MeToo has changed the film industry; and why she’d really like to direct a comedy. Plus, Caetano Veloso, a living giant of Brazilian music, was recently profiled for<span> </span><em><span>The New Yorker</span></em><span><span> </span>by Jonathan Blitzer. The staff writer picks some key tracks from Veloso’s vast catalogue that illuminate his long career.</span></span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Stephen Kotkin: Don’t Blame the West for Russia’s Invasion of Ukraine

<p><span>It’s impossible to understand the destruction and death that Vladimir Putin is unleashing in Ukraine without understanding his most basic conviction: that the breakup of the Soviet empire was a catastrophe from which Russia has yet to recover. Some experts, including </span><a href="https://www.newyorker.com/news/q-and-a/why-john-mearsheimer-blames-the-us-for-the-crisis-in-ukraine"><span>John Mearsheimer</span></a><span>, have blamed </span><span>NATO</span><span> expansion for the invasion of Ukraine, arguing that it has provoked Vladimir Putin to defend his sphere of influence. Stephen Kotkin, a professor of history and international affairs at Princeton University, and a research scholar at the Hoover Institution, respectfully disagrees. Putin’s aggression is “n</span><span>ot some kind of deviation from the historical pattern,” he tells David Remnick. Russia in the nineteenth century looked much as it does today, he says. “It had an autocrat. It had repression. It had militarism. It had suspicion of foreigners and the West.” Kotkin describes how and why the Putin regime has evolved toward despotism, and he speculates that the strategic blunders in invading Ukraine likely resulted from the biases of authoritarian rulers like Putin, and the lack of good information available to them. </span><span>Kotkin is the author of an authoritative biography of Joseph Stalin, two volumes of which have been published; a third is in the making. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Pauline Kael on “The Godfather”

<p><span>As </span><i><span>The New Yorker’s</span></i><span> film critic from 1968 to around 1991, the influential Pauline Kael gave voice to her visceral reactions: she wrote as a moviegoer, not a cineaste. Fifty years ago, in the March 10, 1972, issue, she </span><a href="https://www.newyorker.com/magazine/1972/03/18/alchemy-pauline-kael"><span>wrote</span></a><span> about a new film by the hot-shot young director Francis Ford Coppola. “If ever there was a great example of how the best popular movies come out of a merger of commerce and art,” Kael wrote, “ ‘The Godfather’ is it.” She noted that Coppola took Mario Puzo’s potboiler of a novel, and the familiar outline of the gangster melodrama, and imbued them with “a new tragic realism,” which reflected a darker view of Americanism in the Watergate era. </span></p> <p><span>Edie Falco performs an excerpted version of Kael’s review. </span></p> <p><span>Some of Pauline Kael’s best work for </span><i><span>The New Yorker</span></i><span> is collected in “The Age of Movies,” published by the Library of America.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Masha Gessen and Joshua Yaffa on the Escalation of Violence in Ukraine

<p><a href="https://www.newyorker.com/contributors/joshua-yaffa"><span>Joshua Yaffa</span></a><span> is a Moscow correspondent for </span><em><span>The New Yorker</span></em><span>, but he has been travelling throughout the war zone in Ukraine for weeks, reporting on the Russian invasion. </span><a href="https://www.newyorker.com/contributors/masha-gessen"><span>Masha Gessen</span></a><span>, who has lived in and reported from Russia in the past, returned to Moscow to write about the Russian people’s response to the invasion. Yaffa and Gessen spoke with David Remnick on March 3rd about the week’s escalation of violence, and what Putin’s goal might be.</span></p> <p><span>Plus, David Remnick speaks with<span> </span><span>Igor Novikov, an Internet researcher and entrepreneur who served as an adviser to President Volodymyr Zelensky. Novikov explains how Zelensky’s background as an actor and a comedian has given him an advantage in the West’s “attention economy.” Ukraine “will only survive if people pay attention,” Novikov notes, and must “make sure people understand who the perpetrator and who the victim is in this situation.”</span></span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Sheryl Lee Ralph on Confronting Hollywood

<p><span>Sheryl Lee Ralph has been a staple of Black entertainment for decades. She played Deena Jones in the original Broadway production of “Dreamgirls,” and was in “Sister Act 2” alongside Lauryn Hill and Whoopi Goldberg. She’s currently starring in the new ABC sitcom “Abbott Elementary.” Her decades-long career gives her a unique perspective on how the industry has changed since she started—and how it hasn’t. “I think that, sometimes in order for institutions like Broadway to truly make room for others, you’ve got to break it down,” she tells </span><i><span>The New Yorker’s</span></i><span> Vinson Cunningham. “Because you’ve got to help people see things differently, outside of their own vision. And, even if it’s 20/20, it’s not perfect.” </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

How Black Creators Are Changing Hollywood

<p><span>In the past few years, it seems a floodgate has opened, releasing a deluge of tremendously successful media that centers the Black experience. “Get Out,” “Black Panther,” and HBO’s “Watchmen” are just some of the big-budget prestige projects that have drawn huge audiences and dominated the cultural conversation. The New Yorker Radio Hour looks at this moment in Black entertainment and investigates the industry forces behind it in a special episode, produced by Ngofeen Mputubwele. A film scholar explains the complicated history between studios and Black audiences.</span></p> <p><span>And Barry Jenkins, the director of “Moonlight,” tells David Remnick about the doors the Obama Presidency opened for Black creators in Hollywood. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

How Should President Biden Respond to Putin’s War on Ukraine?

<p><span>Since last summer, Russian troops have been amassing on the Ukrainian border, and, in recent weeks, President Vladimir Putin warned that he intended a military takeover of Ukraine. This week, </span><a href="https://www.newyorker.com/news/daily-comment/putin-launches-his-invasion-of-ukraine">Russia began the war</a><span>, with<span> </span></span><a href="https://www.newyorker.com/news/dispatch/a-sleepless-night-of-russian-air-strikes-in-ukraine">widespread attacks</a><span>, including in the capital, Kyiv, aimed at<span> </span></span><a href="https://www.newyorker.com/news/our-columnists/the-crushing-loss-of-hope-in-ukraine">crippling the Ukrainian military</a><span>. The Ukrainian President, Volodymyr Zelensky, has called on civilians to enlist in the military to fight the invaders. The U.S. and<span> </span></span><em>nato</em><span><span> </span>are levying heavy sanctions against the Russians, but there are disagreements within the U.S. and among western allies about exactly how to proceed. Susan B. Glasser, a<span> </span></span><em>New Yorker</em><span><span> </span>staff writer, joins Dorothy Wickenden to discuss the war, and the choices faced by the Biden administration and<span> </span></span><em>nato</em><span>.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Peter Dinklage on “Cyrano”

<p><span>Joe Wright’s film “Cyrano,” nominated for an Academy Award for Best Costume Design, was based on Erica Schmidt’s 2018 stage musical of the same name. Peter Dinklage starred in both, as the unattractive but lovestruck swashbuckler of the 1897 play “Cyrano de Bergerac.” Dinklage spoke with </span><a href="https://www.newyorker.com/contributors/michael-schulman"><span>Michael Schulman</span></a><span> in 2019, and said that Cyrano’s predicament is not really about his famously giant schnoz; it is about “everyone’s capacity to not feel worthy of love.” </span><span>Dinklage also spoke about the ending of </span><span>“Game of Thrones,” which had taken place a few months earlier. Fans were still freaking out </span><span>about Daenerys’s turn to brutality at the series’ end, and Dinklage had little sympathy. “Monsters are created. We vote them into office. . . . Maybe [fans] should have waited for the series finale before you get that tattoo, or name your golden retriever Daenerys. I can’t help you.”</span></p> <p> </p> <p><i><span>This segment originally aired December 20, 2019. </span></i></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Nicholas Britell on the Art of the Film Score

<p><span>Nicholas Britell has emerged as one of the most in-demand film composers working today, creating original music for projects that hew to no style or model. He wrote the infuriatingly catchy theme of HBO’s “Succession”; he is nominated for an Academy Award for the score of Adam McKay’s manic apocalypse comedy “Don’t Look Up”; he was previously nominated for his score for Barry Jenkins’s “Moonlight.” In 2017, Britell spoke with the</span><i><span> New Yorker</span></i><span> editor Henry Finder on the occasion of the release of “Battle of the Sexes,” about the 1973 tennis match between Billie Jean King and Bobby Riggs. </span></p> <p> </p> <p><i><span>This segment originally aired September 22, 2017. </span></i></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Alexandria Ocasio-Cortez on the Path Forward for the Left

<p><span>Alexandria Ocasio-Cortez is one of the most prominent progressives in Washington. Her political ascent began with her shocking 2018 defeat of a longtime incumbent in a New York district that includes parts of Queens and the Bronx. She is a strong advocate of the Green New Deal and Medicare for All. With her party’s razor-thin majorities now in peril, many of her priorities seem out of reach. Can the agenda she was elected to advance survive? </span> </p> <p><span>Ocasio-Cortez reflects on her time in Washington with David Remnick, painting a dysfunctional portrait of Congress. “Honestly, it is a shit show,” she says. “It’s scandalizing, every single day. What is surprising to me is how it never stops being scandalizing.”</span></p> <p><span>This conversation is part of </span><i><span>The New Yorker’s</span></i><span> first </span><a href="https://newyorker.com/interviews-issue-2022"><span>digital-only issue</span></a><span>, a special collection of New Yorker Interviews.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

On Cancel Culture and the State of Free Speech

<p><span>Every few weeks, it seems, another example of so-called cancel culture is dominating the headlines and trending on social-media platforms. The refrain “you can’t say anything these days” has become a slogan of cultural politics, particularly on the right. And yet there’s a wide gulf of opinion on what the term “cancelling” means—and whether the phenomenon even exists. In this special episode, we examine the issue with Representative </span><a href="https://www.newyorker.com/tag/alexandria-ocasio-cortez"><span>Alexandria Ocasio-Cortez</span></a><span>, the YouTube video creator Lindsay Ellis, the comedy historian Kliph Nesteroff, and the writers Jay Caspian Kang and William Deresiewicz. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

David Remnick Talks with Lee Child, the Creator of Jack Reacher

<p><span>Lee Child didn’t start writing novels until he lost a prestigious job producing TV in England during a shakeup that he attributes to Rupert Murdoch. He tried his hand at writing a thriller, and found that the new career suited him: with a hundred million copies of his books in print in forty languages, Lee Child’s Jack Reacher novels make up one of the most successful series in print. Every September 1st, he sits down to write a new one. He tells his longtime fan David Remnick that his all-American tough guy is a</span><span><span> </span>modern-day knight-errant wandering the land doing good deeds.</span><span><span> </span>But, at sixty-seven, Child has thought about giving Reacher up. What would he do instead? Catch up on his own reading, finally getting around to Jane Austen and other classics. “Remember, I’m from Europe,” he points out. “I have no work ethic.” Plus, the contributor Graciela Mochkofsky on three classics of Argentinean music that she hated growing up, but came to embrace while living in America under<span> </span><a href="https://www.newyorker.com/tag/coronavirus"><span>COVID</span></a><span>.</span></span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Black Thought Takes the Stage

<p><span>Tariq Trotter, best known in music as Black Thought, the emcee of the Roots, is regarded by many hip-hop fans as one of the best freestyle rappers ever. His work changed shape when the Roots became the house band for Jimmy Fallon’s late-night show, and again when he began performing standup comedy. “</span><span>I’ve spent most of my career with my sunglasses and my hat pulled down low, very many layers of defense,” he tells </span><a href="https://www.newyorker.com/contributors/jelani-cobb"><span>Jelani Cobb</span></a><span>. “You’re up there as a comedian, it’s just you and your ideas and a microphone, no light show, no band. . . . After having done this for over thirty years, what else can I do, how can I become a better storyteller?” Trotter’s latest endeavor has been writing the music and lyrics for “Black No More,” a musical-theatre production based on the eponymous novel, by George Schuyler;  the script is by John Ridley, with direction by Scott Elliott. Schuyler’s book is a dark satire, written during the Harlem Renaissance, that describes the development of a “cure” for Blackness; Trotter stars as Dr. Junius Crookman, who believes that this remedy will solve America’s problems with race. “My focus became almost rapping as little as possible” in the show, Trotter says; “I wanted this to be above and beyond folks’ expectations.” </span></p> <p><span>“Black No More” is in previews at the Pershing Square Signature Center. It opens February 15th.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Guillermo del Toro and Bradley Cooper on the Enduring Appeal of Noir

<p><span>Guillermo del Toro has been called the leading fantasy filmmaker of this century. His movies include “Pan’s Labyrinth,” “Hellboy,” and “The Shape of Water,” which</span> <span>won four Academy Awards in 2018, including Best Picture and Best Director. He joined David Remnick to talk about his new film, “Nightmare Alley,” along with Bradley Cooper, who plays Stanton Carlisle, a grifter who seems to want to do the right thing but is unable to resist the pull of the con. Based on a 1946 novel by William Lindsay Gresham, “Nightmare Alley” is del Toro’s first film that isn’t somewhere in the fantasy genre; its dark depiction of American life is grounded in film noir. “We went to the root of it, American existentialism,” del Toro says, citing sources like the novel “The Day of the Locust” and the paintings of Edward Hopper. “It’s a discovery of America reckoning with its own ideals and its reality,” and a sense of tragic fate. “We knew that we needed to create not an up-and-down structure but a very steady, inexorable ramp.” The film, which was released in theatres in December, during the surge of the Omicron variant, begins streaming February 1st. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Russia’s Intentions in Ukraine—and America

<p><span>“T</span><span>hey push buttons,” says Timothy Snyder, a professor of history at Yale. “What button of ours are they pushing here? What are they trying to get us to do?” Vladimir Putin is posturing toward a costly invasion of Ukraine, on the false pretext of protecting Russian-language speakers in the country. Why? In a wide-ranging conversation, Snyder talks with David Remnick about how to understand Russia’s aggression, the idea advanced by Putin that Ukraine historically and rightfully belongs to Russia, and the dictator’s far-reaching goal of destabilizing NATO. Snyder is the author of the Second World War history “Bloodlands,” as well as “The Road to Unfreedom” and “On Tyranny”—which warn of the dangers that imperil American democracy. Running an oligarchy in which corruption is universal, Putin “is basically stuck with spectacle, distractions—the old bread and circuses idea,” Snyder says, “but also is working from a situation where you want to bring other countries down to your level. . . . With that, you can understand their intervention in our elections, or the way they talk about us: they want to bring out the elements of us, both rhetorically and in reality, that are most like the way they run the country.” Putin’s governance of Russia and his foreign policy, in other words, are intricately entangled. “I tend to think [the threat of invasion] is about the Biden Administration, in a pretty fundamental way,” Snyder believes. “If your goal is to undermine NATO—let’s accept that that is their sincere goal—who do you want to be President? Trump.” The crisis, he says, “puts Biden in a very bad position. It’s very hard for Biden to look strong. . . . Insofar as there is a strategy here, it’s about dividing NATO members and putting pressure on the Biden Administration.” </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

The Trials of a Whistle-blower

<p><span>As a nurse at the Irwin County Detention Center—a Georgia facility run by LaSalle Corrections, a private company operating an immigration-detention contract with ICE—Dawn Wooten became aware of some frightening violations, including numerous hysterectomies and other medical procedures performed without patient consent. When she asked questions, she was demoted and eventually pushed out. Wooten supplied critical information for two </span><a href="https://whistleblower.org/press-release/press-statement-government-accountability-project-client-dawn-wootens-whistleblower-disclosures-catalyze-dhs-to-stop-detaining-immigrants-at-irwin-county-detention-center/"><span>complaints</span></a><span> about I.C.D.C., which were submitted to the Office of Inspector General at the Department of Homeland Security. The complaints were </span><a href="https://theintercept.com/2020/09/14/ice-detention-center-nurse-whistleblower/"><span>first reported</span></a><span> in The Intercept in September, 2020, and then covered widely in the national press. Last May, in a victory for Wooten, the detained women who spoke up about their mistreatment, and the </span><a href="https://projectsouth.org/"><span>advocacy groups</span></a><span> that had fought on their behalf, ICE </span><a href="https://whistleblower.org/press-release/press-statement-government-accountability-project-client-dawn-wootens-whistleblower-disclosures-catalyze-dhs-to-stop-detaining-immigrants-at-irwin-county-detention-center/"><span>ended</span></a><span> its I.C.D.C. contract with LaSalle. Wooten’s own troubles, however, had just begun. Receiving death threats and kidnapping threats, she and her five children stayed under security in a series of hotels. Her whistle-blower-retaliation complaint with the federal government is still awaiting a finding, as the Office of the Inspector General has requested two extensions on its legally required deadlines. Meanwhile, Wooten found that hardly anyone would hire a nurse who had made front-page headlines: despite her twelve years of experience, she was rejected from more than a hundred jobs during a national nursing shortage. She couldn’t get hired at McDonald’s. Wooten, and the detained women who shared their stories at great risk, are still awaiting justice. For </span><a href="https://www.newyorker.com/contributors/sarah-stillman"><span>Sarah Stillman</span></a><span>, who covers immigration for </span><i><span>The New Yorker</span></i><span>, Wooten’s case draws attention to the fact that low-wage whistle-blowers, in particular, can face almost insurmountable obstacles to coming forward to expose wrongdoing.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

The Olympic Games Return to China, in a Changed World

<p><span>Much has changed since China last hosted the Olympics, during the 2008 Summer Games. Those Games were widely seen as greatly improving China’s international reputation. But the 2022 Winter Games have put a spotlight instead on its human-rights abuses, most notably the genocide taking place against Uyghurs and Kazakhs. Peter Hessler, for many years </span><i><span>The New Yorker’s</span></i><span> China correspondent, asks David Remnick, “When an athlete says something about the internment camps in Xinjiang, and the oppression of Muslim people in China, what is the Chinese response going to be? The I.O.C. has really left them out there.” The sports reporter Louisa Thomas notes that these Games may garner little American support or attention, with few big-name American athletes for NBC to promote. “I even have a lot of friends who have no idea there’s about to be an Olympics,” Thomas says. </span><span>Plus, at the Beijing pizzeria Pie Squared, the owner, Asher Gillespie, glumly assesses the Olympics boom that isn’t coming. With ticket sales halted and the events in a bubble, he says, “</span><span>We're going to be watching from TV just like everybody else.” </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Hilton Als and Emma Cline on the Late Joan Didion

<p><span>Joan Didion tried and failed, she said, “to think”; that is, to write about abstractions and symbols, and make grand arguments in the manner of the New York intellectuals of her time. Instead, the California native—who died in December, at the age of eighty-seven—built her work around close observation of American life as she saw it, withholding judgment. And while many of her intellectual contemporaries belong now to a bygone era, “for my generation,” </span><a href="https://www.newyorker.com/contributors/emma-cline"><span>Emma Cline</span></a><span> notes, “her influence is so massive.” Cline’s best-selling novel “The Girls” is set in nineteen-sixties California, on the fringes of a cult—what we might think of as Didion country. “I almost can’t think of a writer who is more of a touchstone for every writer that I know.” In fact, younger writers need to “unlearn” her voice, </span><a href="https://www.newyorker.com/contributors/hilton-als"><span>Hilton Als</span></a><span> tells David Remnick, in order to find their own. Als notes that Didion eventually rejected the persona of her early works, which was imbued with white female fragility; and she was prophetic, he notes, in placing race and gender at the center of America’s battles. </span></p> <p> </p> <p><span>Since Joan Didion’s death, </span><i><span>The New Yorker</span></i><span> has published Postscripts by </span><a href="https://www.newyorker.com/culture/postscript/joan-didion-and-the-voice-of-america"><span>Als</span></a><span>, </span><a href="https://www.newyorker.com/culture/postscript/joan-didions-specific-vision"><span>Cline</span></a><span>, </span><a href="https://www.newyorker.com/culture/postscript/joan-didion-and-the-opposite-of-magical-thinking"><span>Zadie Smith</span></a><span>, and </span><a href="https://www.newyorker.com/magazine/2022/01/03/what-joan-didion-saw"><span>Nathan Heller</span></a><span>. Some of Didion’s own contributions to </span><i><span>The New Yorker</span></i><span> can be found </span><a href="https://www.newyorker.com/books/double-take/joan-didion-in-the-new-yorker"><span>here</span></a><span>. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

The Biden Presidency, Year One

<p><span>President Biden took the oath of office in a moment of deep crisis—the pandemic in full swing and just weeks after an unprecedented attempt to overturn the election by violence. Merely a return to normalcy would have been a tall order. But Biden was promising something more: a transformational agenda that would realign American economics and life on a scale rivalling Franklin Roosevelt’s long Presidency. Yet Biden never commanded Roosevelt’s indomitable popularity and electoral advantages. A year into the Administration, </span><a href="https://www.newyorker.com/contributors/evan-osnos"><span>Evan Osnos</span></a><span> takes stock of its successes, failures, and ongoing challenges, along with four </span><i><span>New Yorker</span></i><span> colleagues: </span><a href="https://www.newyorker.com/contributors/susan-b-glasser"><span>Susan B. Glasser</span></a><span> on legislation, </span><a href="https://www.newyorker.com/contributors/jonathan-blitzer"><span>Jonathan Blitzer</span></a><span> on immigration, </span><a href="https://www.newyorker.com/contributors/elizabeth-kolbert"><span>Elizabeth Kolbert</span></a><span> on climate, and </span><a href="https://www.newyorker.com/contributors/john-cassidy"><span>John Cassidy</span></a><span> on the economy.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Nnedi Okorafor on Sci-Fi Through an African Lens

<p><span>Nnedi Okorafor, a recipient of the prestigious Hugo Award, is a prolific writer of science-fiction and fantasy novels for adults and young adults. She spoke with </span><a href="https://www.newyorker.com/contributors/vinson-cunningham"><span>Vinson Cunningham</span></a><span><span> </span>about how her Nigerian American heritage influenced her interest in fantastical worlds. “It’s part of the culture—this mysticism,” she says. “I wanted to write about those mystical things that people talked about but didn’t talk about because they were mysterious and interesting, and sometimes forbidden.” Her novel “Akata Woman,” which comes out this month, is the third in a series that also acknowledges complicated relationships among peoples of the African diaspora. Plus, Julian Lucas is a passionate gamer, with a particular interest in video games as a form of landscape art. He walks David Remnick through the forthcoming game Norco, a highly anticipated thriller set in coastal Louisiana.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

A New Civil War in America?

<p><span>When rioters, encouraged by the President, stormed the Capitol, one year ago, to overturn the results of the election, the idea that such a thing could play out in America was stunning. But the attack may have been just the beginning of an ongoing insurrection, not a failed attempt at a coup. David Remnick talks with Barbara F. Walter, the author of the new book “How Civil Wars Start: And How to Stop Them.” Walter is a political scientist and a professor at the University of California, San Diego, and a co-director of the online magazine </span><a href="https://politicalviolenceataglance.org/"><span>Political Violence at a Glance</span></a><span>. She has studied countries that slide into civil war for the C.I.A., and she says that the United States meets many of the criteria her group identified. In particular, anti-democratic trends such as increased voting restrictions point to a nation on the brink. “Full democracies rarely have civil wars. Full autocracies rarely have civil wars,” she says. “It’s the ones that are in between that are particularly at risk.” </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

The Power of Police Unions

<p><span>The repeal of Section 50-A of the New York State Civil Rights Law was no technical change. Passed in the wake of the George Floyd protests, it was a big victory for police-reform activists. 50-A shielded the disciplinary records of police officers, meaning that, in an officer-involved killing, for example, neither lawyers, journalists, nor the victim’s family could determine if the officer had a history of disciplinary incidents. Laws like 50-A—and there are similar laws in many states—have played a big role in blocking police accountability. Because of the powerful influence of police unions, changing them is not easy, even for left-leaning politicians who champion reform. The </span><i><span>New Yorker</span></i><span> staff writer </span><a href="https://www.newyorker.com/contributors/william-finnegan"><span>William Finnegan</span></a><span> examines how the fight against 50-A was won. At the center of the story are the fraught relationships among politicians, protesters, and law enforcement. </span></p> <p> </p> <p><i><span>This segment originally aired July 31, 2020. </span></i></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Amanda Gorman on Life After Inauguration

<p><span>One year ago, Amanda Gorman delivered the inaugural poem on the day that Joe Biden became President. Gorman was just twenty-two years old, and it was just two weeks after Trump supporters had assaulted the Capitol in an effort to stop Congress from certifying the election. At the ceremony, Gorman herself seemed to cast light on a dark situation. Her poem “The Hill We Climb” reads, “When day comes, we ask ourselves: / Where can we find light / In this never-ending shade? / The loss we carry, a sea we must wade. / We’ve braved the belly of the beast.” </span><i><span>The New Yorker’s</span></i><span> poetry editor, </span><a href="https://www.newyorker.com/contributors/kevin-young"><span>Kevin Young</span></a><span>, wrote that her poem was “as vibrant and elegant as her yellow coat against the cold.” After that very public début, Gorman found the stakes of writing the poems for her new collection, “Call Us What We Carry,” to be impossibly high. (It was </span><a href="https://www.newyorker.com/magazine/2021/12/13/from-call-us-what-we-carry-poetry-by-amanda-gorman"><span>excerpted in </span><i><span>The New Yorker</span></i></a><span> with readings by Gorman.) She spoke with Young about being an inaugural poet—following in the footsteps of Maya Angelou and Elizabeth Alexander—in a conversation from </span><i><span>The New Yorker’s</span></i> <a href="https://www.newyorker.com/podcast/poetry"><span>Poetry Podcast</span></a><span>. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

For a French Burglar, Stealing Masterpieces Is Easier Than Selling Them

<p><span>Vjeran Tomic has been stealing since he was a small child, when he used a ladder to break into a library in his home town, in Bosnia. After moving to Paris, he graduated to lucrative apartment burglaries, living off the jewels he took and often doing time in prison. He became known in the French press as Spider-Man, and he began to steal art. Tomic has a grand sense of his calling as a burglar; he considers it his destiny and has described his robberies as acts of imagination. He eventually carried out a truly epic heist: a break-in at the Musée d’Art Moderne, in Paris, in which he left with seventy million dollars’ worth of paintings. But selling these masterpieces proved harder than stealing them, and that’s where Spider-Man’s troubles began. The contributor Jake Halpern tells Vjeran Tomic’s story; excerpts from Tomic’s letters from prison are read by the actor Jean Brassard.  </span></p> <p><i><span>This segment was previously aired in 2019.</span></i></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Rhiannon Giddens, Americana’s Queen, Goes Global

<p><span>By the standards of any musician, Rhiannon Giddens has taken a twisting and complex path. Trained as an operatic soprano at the prestigious Oberlin Conservatory, Giddens fell almost by chance into the study of American folk music. Alongside two like-minded musicians, she formed the Carolina Chocolate Drops, in which she plays banjo and sings. The group is focussed on reviving the nearly forgotten repertoire of Black Southern string bands, but the audience for acoustic music remains largely white. Giddens tells David Remnick she was heartbroken that her largest Black audience was at a prison concert. “The gatekeepers of Black culture are not interested in what I’m doing,” she says. “This is a complaint I’ve heard from many, many people of color who do music that’s not considered Black—hip-hop, R. & B.” Her view of Black music is more expansive: “There’s been black people singing opera and writing classical music forever.” As a solo artist, Giddens is moving increasingly further afield from African American and American music; her new album, “There Is No Other,” recorded in Dublin in collaboration with the musician Francesco Turrisi, explores folk styles from the Middle East, Europe, and Brazil, as well as early America. She and Turrisi perform “Wayfaring Stranger,” the ancient ballad “Little Margaret,” and the tarantella “Pizzica di San Vito.” </span></p> <p><i><span>This segment was previously aired in 2019.</span></i></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

When Snow Came to San Juan

<p><span>For several years in the early nineteen-fifties, Puerto Rico received snow, right around Christmas. Children in San Juan rode a sled and had a giant snowball fight in the tropical weather. It wasn’t a miracle, or a meteorological outlier. The snow was a</span><span> gift from San Juan’s longtime mayor, Felisa Rincón de Gautier, who had fallen in love with snow during her years in New York. It was delivered by Eastern Airlines, which milked the publicity for all it was worth. A young New Hampshire girl escorted one delivery, wearing a hat and a cable-knit sweater. The snow didn’t cost Puerto Rico anything, but it certainly came with strings attached. At a time when the independence movement was being harshly suppressed, in favor of a continued colonial relationship with the United States, the fetishization of the northern “white Christmas” reads to some as a gesture of cultural imperialism that has never quite ended. And even recently—as the island still faces routine blackouts of its electrical grid, years after Hurricane Maria—the mayor of a small town proposed building an ice-skating rink. WNYC’s Alana Casanova-Burgess reports on why the snow came, and what it meant to Puerto Ricans. </span></p> <p><i><span>Our story was produced in collaboration with “</span></i><a href="https://www.wnycstudios.org/podcasts/la-brega"><i><span>La Brega</span></i></a><i><span>,” from WNYC Studios and Futuro Studios. </span></i></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Is the Gift of Tuition Enough?

<p><span>Élite schools are trying hard to recruit students of color and students who are less well-off financially; Yale University, as one example, now covers full tuition for families making less than seventy-five thousand dollars. Yet, many of these students find that the experience and the culture of a selective private university may remain challenging. Even a full-ride scholarship may not meet the needs of a student from a poor or working-class family. The New Yorker Radio Hour’s </span><a href="https://www.wnyc.org/people/kalalea/"><span>KalaLea</span></a><span> spent time at Trinity College with Manny Rodriguez, who was then a senior, working three jobs to cover his expenses and help his family. They met before the Thanksgiving break, where Rodriguez remained on campus picking up extra shifts. He could not afford the airfare to visit his mother. Often late for classes, unable to meet professors during office hours, and deeply anxious about expenses that many of his classmates wouldn’t notice, Rodriguez explains the ways that college is not structured for people like himself. “I feel like I’ve struggled to finish,” he says, “and I’m going to be crawling on my graduation day.” </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Millennial Writers Reflect on a Generation’s Despair

<p><span>The eldest millennials turned forty this year, and the producer </span><a href="https://www.wnycstudios.org/people/ngofeen-mputubwele"><span>Ngofeen Mputubwele</span></a><span><span> </span>comments on a sense of despair he finds in his generation, having to do with the state of the planet, the nation, the Internet, intolerance, and more. He set out to explore why millennials feel hopeless and how they can live with that feeling, in conversations with five writers:<span> </span></span><a href="https://www.newyorker.com/contributors/kaveh-akbar"><span>Kaveh Akbar</span></a><span>, the author of “Pilgrim Bell”; Carlos Maza, the creator of the video essay “</span><a href="https://www.youtube.com/watch?v=iJaE_BvLK6U"><span>How to Be Hopeless</span></a><span>”</span><span>;</span><span><span> </span></span><a href="http://www.shaunamcgarry.com/"><span>Shauna McGarry</span></a><span>, a writer on “BoJack Horseman”; Patrick Nathan, the author of<span> </span></span><a href="https://www.penguinrandomhouse.com/books/676227/image-control-by-patrick-nathan/"><span>“Image Control: Art, Facism, and the Right to Resist”</span></a><span>; and the climate activist Daniel Sherrell, whose recent memoir is “</span><a href="https://www.newyorker.com/books/under-review/can-we-find-a-new-way-to-tell-the-story-of-climate-change"><span>Warmth: Coming of Age at the End of Our World</span></a><span>.”</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Paul Thomas Anderson, Poet Laureate of the San Fernando Valley

<p><span>Paul Thomas Anderson first made a splash in Hollywood with his film “Boogie Nights,” a portrait of the porn industry that burgeoned in the San Fernando Valley, the much-mocked suburbs of Los Angeles. Anderson is a Valley native, and proud to live there still. “There was a terrific story right in my own back yard,” he told David Remnick. “I guess at some point, I probably read ‘Write what you know.’ I was, like, Well, that’s a good place to start.” Many of Anderson’s films—such as “Magnolia,”</span> <span>“There Will Be Blood,” and “Inherent Vice”—tell stories from Southern California’s past and present. Anderson’s new film, “Licorice Pizza,” returns to that terrain. It portrays the thorny relationship between a teen-aged boy and a twenty-five-year-old woman, and the pair’s misadventures in the Valley of the mid-seventies. Anderson, who could recruit any stars in Hollywood, instead cast two newcomers as his leads: Alana Haim (a musician in the indie band HAIM) and Cooper Hoffman. Anderson spoke to David Remnick from his home in—where else?—the Valley.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Life After Prison

<p><span>As a kid, Jonathan was good at soccer and making friends. But by the age of eighteen, he was a drug dealer facing his first serious conviction. For his third conviction, although the charges were for nonviolent offenses, he received a twenty-one-year prison sentence. In 2019, after serving seventeen years, he was released under the First Step Act, a bipartisan prison-reform bill that has helped to reduce the sentencing disparity between crack and powdered cocaine for some federal prisoners. In total, Jonathan has spent twenty-five years behind bars. Now, as a middle-aged former felon, he faces a world full of hazards and struggles with the unintended consequences of a long sentence. (Jonathan’s real name has been withheld, in order to protect his family’s privacy.) </span></p> <p> </p> <p><span>Also, </span><a href="https://www.newyorker.com/contributors/david-remnick"><span>David Remnick</span></a><span> speaks with Kai Wright, the host of WNYC’s “</span><a href="https://podcasts.apple.com/us/podcast/the-united-states-of-anxiety/id1155194811"><span>The United States of Anxiety</span></a><span>,” about long prison sentences and how the goal of incarceration has shifted from “correction” to warehousing people for as long as possible. </span><span> </span></p> <p><i><span> </span></i></p> <p><i><span>This podcast was originally released on January 17, 2020.  </span></i></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>