The New Yorker Radio Hour

You couldn’t write a history of American music without a solid chapter on Bonnie Raitt. From her roots as a blues guitarist, she’s created a gorgeous melange of rock, R. & B., blues, folk, and country—helping to establish a new category now known as Americana. But she’s far from resting on her laurels; her latest album, “Just Like That . . . ,” is nominated for four Grammy Awards this year, including Song of the Year—a category in which her competition includes Beyoncé and Adele, stars a generation younger than Raitt. She talks with David Remnick about her early career in the blues clubs of Boston; the relationship between older Black artists and the nineteen-sixties generation of younger white afficionados; and the state of the genre today. “The way that blues and R. & B. and soul music [are] interwoven with so many different styles now . . . the cross pollination of influences that streaming has made possible—it means that blues is always at the root of whatever funky music is out at the time,” she says. Raitt also reflects on how finding sobriety in her forties changed her music. “I think a lot of us are busy putting on a big persona—proving ourselves in the world—for the first two decades of our careers,” she says. “I became more who I really am at forty-one than I was at thirty-one.”

Exceptions in the case of rape used to be considered a necessity in abortion legislation, even within the pro-life movement. But today ten states have no rape exception in their abortion laws, and more will likely consider moving in that direction this year. “I think few people understand how common this scenario actually is,” the contributing writer Eren Orbey, who has reported on the issue, says; according to C.D.C. statistics, nearly three million women have become pregnant as a result of rape. With abortion laws changing, more and more women will be forced to carry these pregnancies to term. In some cases, they’ll find themselves tied to their assailants through the family-court system until their children turn eighteen. “Many states . . . require a conviction for first-degree rape—which is really hard to come by even if there’s a lot of evidence—in order to terminate parental rights,” Lucy Guarnera, a professor of psychiatry and neurobehavioral sciences at the University of Virginia, says. Orbey talks with Guarnera, one of a few researchers who have studied this issue in depth, and with a mother of twins about the challenges of parenthood under these conditions. “The reality is: these exceptions are far less effective than we assume they are,” Orbey says. “They create the false impression that we’re taking care of all rape survivors when we’re not.”

Many on the right blame “wokeness” for all of America’s ills—everything from deadly mass shootings to lower military recruitment. Florida’s governor, Ron DeSantis, recently signed a so-called Stop WOKE Act into law, and made the issue the center of his midterm victory speech. In Washington, there has been talk in the House of forming an “anti-woke caucus.” “I think ‘woke’ is a very interesting term right now, because I think it’s an unusable word—although it is used all the time—because it doesn’t actually mean anything,” the linguist and lexicographer Tony Thorne, the author of “Dictionary of Contemporary Slang,” tells David Remnick. Plus, the poet Robin Coste Lewis talks with the staff writer Hilton Als about how suffering a traumatic brian injury led her to a career in poetry. Her most recent book, “To the Realization of Perfect Helplessness,” was published last month.

Despite years of controversy, the Academy Awards and the other awards shows remain must-watch television for many Americans. The awards may be “unreliable as a pure measure of cinematic worth,” Schulman tells David Remnick. “But I would argue that the Oscars are sort of a decoder ring for cultural conflict and where the industry is headed,” Schulman says. “They are a way to understand where pop culture is.” With theatre attendance in continuing decline, the Academy is looking for solutions, Schulman believes, and that could result in a higher-grossing outlier winner for the coveted Best Picture award. Plus, a visit with the Broadway composer Charles Strouse, who is ninety-four and compiling his archives to donate to the Library of Congress. He reflects on his work with Jay-Z and his “friendly enemy” relationship with Stephen Sondheim: “He didn’t like me much. I didn’t like him less.” Still nimble at the piano, Strouse plays a rendition of his classic, “Tomorrow.”

George Santos is hardly the first scammer elected to office—but his lies, David Remnick says, are “extra.” Most Americans learned of Santos’s extraordinary fabrications from a New York Times report published after the midterm election, but a local newspaper called the North Shore Leader was sounding the alarm months before. The New Yorker staff writer Clare Malone took a trip to Long Island to speak with the Leader’s publisher, Grant Lally, and its managing editor, Maureen Daly, to find out how the story began. “We heard story after story after story about him doing bizarre things,” Lally told her. “He was so well known, at least in the more active political circles, to be a liar, that by early summer he was already being called George Scamtos.” Lally explains how redistricting drama in New York State turned Santos from a “sacrificial” candidate—to whom no one was paying attention—to a front-runner. At the same time, Malone thinks, “the oddly permissive structure that the Republican Party has created for candidates on a gamut of issues” enabled his penchant for fabrication. “[There’s] lots of crazy stuff that’s popped up in politics over the past few years. I think maybe Santos thought, Eh, who’s gonna check?”

Deepti Kapoor describes New Delhi, the setting of her novel “Age of Vice” as “extremely beautiful, but also violent. . . . It’s a place where you think you’re gonna get cheated and robbed until someone does something incredibly kind and breaks your heart.” The highly anticipated book, published simultaneously in twenty countries this month, is part crime thriller, part family saga centered on a reckless playboy who wants to break away from his mob family; a young man working as a servant to him; and a naïve young journalist. Kapoor, who spent a decade as a journalist herself, tells Parul Sehgal that she wrote the book while living abroad—needing the distance from her country in order to see it more clearly.

It wasn’t so long ago that Ronald Reagan was considered over the hill, too old to govern. Now a sitting President has turned eighty in office, and a Presidential contest between Joe Biden and Donald Trump would put two near-eighty-year-olds against each other. (Trump—while denying President Biden’s fitness—commented, “Life begins at eighty.”) Yet the question of age has not disappeared; even some of Biden’s ardent supporters have expressed concerns about him starting a second term. David Remnick talks with the gerontologist Jack Rowe, a professor at Columbia University who also founded Harvard Medical School’s Division on Aging, about how to evaluate a candidate’s competency for office; and with Jill Lepore and Jane Mayer, keen observers of the Presidency. Rowe argues that ageism underlies the public discourse; an occasional slip or unsteadiness, he thinks, is not consequential to the job. “If I give you a seventy-eight-year-old man with a history of heart disease, you don’t know if he’s in a nursing home or on the Supreme Court of the United States,” he tells Remnick. But Lepore and Mayer argue public opinion, and not only medical prognosis, should be considered seriously as we look at aging politicians. If Biden and Trump face off, Lepore says, “Age won’t be an issue between them. But age will be an issue for American voters. . . . I think of the young people that I teach everyday. They will be furious.” Mayer sees something anti-democratic in play as well. “Incumbency is such an advantage at this point,” she notes, that “it leads to gerontocracy,” because “it’s really hard to unseat someone.”

Forty-six years ago, a young photographer named Marilyn Nance got the opportunity of a lifetime. A student at the Pratt Institute, an art school in Brooklyn, Nance had never left the country. But she became one of the official photographers documenting a festival in Lagos, Nigeria, called FESTAC ’77. The monthlong festival featured artists from across Africa and the diaspora, and has been described as the most important Black cultural event of the twentieth century. But, on returning from the festival, Nance didn’t find any takers to publish her photos, and fifty years later, few people know it took place. “I thought I would be talking about FESTAC in 1978, not in 2022,” Nance told the staff writer Julian Lucas. “If some tragic thing had happened, everybody would remember. . . . But I guess maybe there was no investment in celebrating Black joy.” A collection of Nance’s photographs from the event was published late in 2022, in the book “Last Day in Lagos.”

Bob Woodward is not one to editorialize. But, during his interviews with Donald Trump at the time of the COVID-19 crisis, Woodward found himself shouting at the President—explaining how to make a decision and trying to browbeat him into listening to public-health experts. Woodward has released audio recordings of some of their interviews in a new audiobook called “The Trump Tapes,” which documents details of Trump’s state of mind, and also of Woodward’s process and craft. “I could call him anytime, [and] he would call me,” Woodward tells David Remnick. His wife, Elsa Walsh, “used to joke [that] there’s three of us in the marriage.” And, in the wake of Damar Hamlin’s accident, the staff writer Louisa Thomas talks with David Remnick about an uncomfortable truth: football’s danger to players is part of its singular popularity.

When the renowned choreographer Akram Khan was commissioned to update the classic “Giselle” for the English National Ballet, he couldn’t simply put new steps to a Romantic-era plot. Beautiful as it is, “Giselle” has a view of ideal womanhood that is insupportable in our century—and it didn’t reflect the women he knew. In Khan’s 2016 “Giselle,” the title character doesn’t chastely expire from a broken heart; she is a strong woman victimized by more powerful men. The story still culminates in an act of forgiveness, but in a way that resonates with the era of #MeToo. Vincenzo Lamagna composed the production’s new score. The producer Ngofeen Mputubwele describes the production as not simply a great modern ballet but a model for how to reimagine a story that doesn’t work anymore.

We draw meaning and comfort from traditions, but when the world changes, traditions can stop reflecting our values and cause us pain. This episode features three people struggling against traditions that have become problematic. The producer Ngofeen Mputubwele talks with Jeanna Kadlec, the author of “Heretic,” a memoir of leaving the evangelical church; and the actor Britton Smith, a leader of Broadway Advocacy Coalition, which seeks to make Broadway an equitable workplace for performers of color. “The fire was loud and the reckoning was very visible to everyone,” Smith tells Mputubwele. “The fire crumbled into ashes, and now the ashes are starting to settle.”

Tracy K. Smith was named Poet Laureate in 2017, at the beginning of the fierce partisan divide of the Trump era. She quickly turned to her craft to address the deep political divisions the election laid bare, putting together a collection called “American Journal: Fifty Poems for Our Time.” Then she hit the road, visiting community centers, senior centers, prisons, and colleges, and reading poems written by herself and others for groups small and large. “It was exhausting, and exhilarating, and it was probably the best thing I could have done as an American,” she told The New Yorker’s poetry editor, Kevin Young. This segment originally aired July 5, 2019.

As the guitarist for the Roots, the band for “The Tonight Show,” Kirk Douglas plays anything and everything. So David Remnick put him to the test on some holiday classics. And two longtime New Yorker staffers, Patricia Marx and Roz Chast, divulge their celebrated history playing together in a ukulele band. As the Daily Pukuleles, they claim, they influenced some of the biggest names in music in the sixties and beyond. But they were always a little too far ahead of the curve for the mainstream.

You’ve probably never heard of Robin Miles, but you may well have heard her—possibly at some length. Miles is an actor who’s cultivated a particular specialty in recording audiobooks, a booming segment of the publishing industry. She has lent her voice to more than 400 titles in all sorts of genres—from the classic “Charlotte’s Web” to Isabel Wilkerson’s “Caste,” a deep analysis of race in America. “Telling a story, fully, all of it—from all the aspects of it—and creating the kind of intimacy between you and your listener is so satisfying,” she tells the New Yorker editor Daniel Gross. “Being in a great play means you have to have the money and the other actors and a script and a director. This is just me and my book, and I love that.”

With the Food Network program “Barefoot Contessa,” Ina Garten became a beloved household name. Although she is a gregarious teacher and presence on television, Garten prefers to do her actual cooking alone. “Cooking’s hard for me. I mean, I do it a lot, but it’s really hard and I just love having the space to concentrate on what I’'m doing, so I make sure it comes out well.” Garten joins David Remnick to reflect on her early days in the kitchen, and to answer listener questions about holiday meals and more. Her latest book is “Go-To Dinners.” Plus, Susan Orlean joins with an installment from her column “Afterword.” She writes about the life of a Texas man who founded a rattlesnake handling business. He liked providing a service for his neighbors, and for whatever reason, he just loved rattlesnakes—a passion that proved fatal.

Although many hearing and sighted people imagine DeafBlind life in tragic terms, as an experience of isolation and darkness, the poet John Lee Clark’s writing is full of joy. It’s funny and surprising, mapping the contours of a regular life marked by common pleasures and frustrations. Clark, who was born Deaf and lost his sight at a young age, has established himself not just as a writer and translator but as a scholar of Deaf and DeafBlind literature. His new collection, “How to Communicate,” includes original works and translations from American Sign Language and Protactile. He speaks with the contributor Andrew Leland, who is working on a book about his own experience of losing his sight in adulthood.

The staff writer Sam Knight was in Qatar recently, reporting on the World Cup, where, despite years of controversy, a familiar rhythm of upsets, triumphs, and defeats has taken hold. But he finds that the geographical shift toward an Arab nation may benefit the sport. Plus, David Remnick talks with Mathias Döpfner, the C.E.O. of the German news publisher Axel Springer, which acquired Politico for a billion dollars last year. Döpfner relishes taking provocative stances, but has been a vocal critic of media outlets that he says are increasingly catering to partisan audiences. “I think it is not about objectivity or neutrality,” he notes. “It is about plurality.” Politico, Döpfner says, is taking “a kind of contrarian bet: if everybody polarizes, the few who do differently may have the better future.”

This year’s midterm elections were widely seen as a victory for democracy in the United States. Election deniers were defeated in many closely watched races and voting proceeded smoothly, even in areas where the Big Lie has taken a firm hold. But the threat of authoritarianism remains strong. David Remnick talks with Steven Levitsky and Daniel Ziblatt, authors of the best-seller “How Democracies Die” about recent political trends. “You can’t really live in a functioning democracy if you feel like each election is a national emergency,” Ziblatt says. “Because what it means is that we’re not confronting the major problems confronting our society.”

J. Michael Luttig is a retired judge of the U.S. Court of Appeals and a prominent legal mind in conservative circles, close with figures including Clarence Thomas and William Barr. On January 5, 2020, he got a call from Vice-President Mike Pence’s then-lawyer asking Luttig to publicly back Pence’s decision not to attempt to overturn the election the next day. Luttig tweeted that the Vice-President had no constitutional authority to stop the election, and suddenly the judge was thrust into the center of the crisis. Now Luttig is siding with Democrats as co-counsel on the Supreme Court case Moore v. Harper, which he tells David Remnick is “the most important case, since the founding, for American democracy.” At the heart of the debate is the independent-state-legislature theory, a once-fringe legal concept that Donald Trump and his allies believe should have allowed Pence to reject the popular vote in 2020. If the court adopts the theory, it could grant legislatures essentially unfettered authority to run national elections; they could not be challenged even if the election violated the state constitution. Such power, in the hands of a gerrymandered legislature, could be used to bypass the popular vote and appoint a new slate of electors, effectively empowering state lawmakers to choose a winner. The court will hear the case on December 7th.

The veteran stage and screen actress Christine Baranski first became a household name thanks to her Emmy-winning turn on the nineties sitcom “Cybill,” and her Tony-award winning work on Broadway. But “The Good Fight” took her to another level. As Diane Lockhart, a Chicago attorney and diehard liberal, Baranski captured the tensions of the political moment of Donald Trump, and the show ended its run this month. Emily Nussbaum could barely contain her excitement when sat down with Baranski at The New Yorker Festival in 2018 for a wide-ranging conversation about Baranski’s career and the timeliness of “The Good Fight.” This segment originally aired April 12, 2019.

Quinta Brunson made a name for herself as a master of meme comedy and is a self-described “child of the Internet,” yet her ABC mockumentary series “Abbott Elementary” is an unabashed throwback to the sitcoms of her youth. Doreen St. Félix talked with Brunson at the 2022 New Yorker Festival about her influences and the everyday comedy of the workplace. St. Félix believes that Brunson has found “freedom in formula” when it comes to “Abbott,” which documents the lives of the beleaguered staff at a Philadelphia public school. “There is nothing that I could do,” Brunson says, “or [that] anyone can do that is more triumphant than someone going to their shitty job.” Writing in the wake of shows like “Black-ish,” Brunson relishes being able to center her story on Black people without addressing topical issues about race; the school is its own self-enclosed world. Just surviving, she thinks, provides its own form of liberation. “So much has happened to Black people,” she says. “Why are we still here? . . . We really could have called it quits a long time ago, and somehow we just keep going. It’s crazy to me.”

In the lead-up to this year’s midterm elections, many pundits expected Republicans to make significant gains among Latino voters, further eroding a base of support that Democrats have arguably taken for granted for decades. “What happened instead, as you know, is a more complicated story,” the contributing writer Stephania Taladrid says, one that both parties will be examining closely as 2024 approaches. Taladrid speaks with two political consultants, Chuck Rocha and Mike Madrid, to unpack the results. Rocha and Madrid co-host “The Latino Vote” podcast. Rocha, a Democrat, was a senior adviser to Bernie Sanders and Madrid, a Republican, was a founding member of the Lincoln Project. And Susan Orlean reads from one of her Afterword columns, about the long and fecund life of a tiger mother. “Unlike most tiger mothers,” she writes, “Collarwali was, in fact, a tiger.”

Five years ago, reporting on the film producer Harvey Weinstein’s history of assault and misconduct opened the floodgates of the national reckoning with gender and power known as #MeToo. Three New Yorker critics—Alexandra Schwartz, Naomi Fry, and Vinson Cunningham—recently gathered to assess #MeToo’s impact on the culture more broadly. They discussed works like the new film “Tár,” the movie “The Assistant,” the fiction pieces “This Is Pleasure” and “Cat Person,” and more. Schwartz notes that #MeToo is not only an event in time but also a lens through which to tell stories about interpersonal relationships that have long been taken for granted.

No self-respecting sports fan is naïve about the role that money plays in pro sports. But, by any standard, the greed and cynicism behind the World Cup are extraordinary. The cloud of scandal surrounding FIFA, the international soccer organization, has led to indictments and arrests on charges of wire fraud, racketeering, and money laundering around the globe. Headlines have been filled with reports of the deaths of workers who constructed the facilities. “People are normally careful enough not to leave a paper trail,” the contributor Heidi Blake notes. But she says, of investigating FIFA, “I’ve never seen graft and corruption documented in this kind of detail.” Blake speaks with David Remnick about “The Ugly Game,” which she co-authored with Jonathan Calvert, and how Qatar came to host the World Cup.

The poet Safia Elhillo first found her voice onstage, performing in youth poetry slams in Washington, D.C., where she grew up, the child of Sudanese immigrants. She published her first collection in 2017, and in 2021 her novel in verse, “Home Is Not a Country,” was long-listed for the National Book Award. She’s now out with a new collection, “Girls That Never Die,” which she characterizes as her most personal and vulnerable work yet. It responds to some of the backlash she received online after her earlier work was published. “Before this book, I think I had really clear rules for myself about what I was and was not allowed to write poetry about. And my body was one of the things that I was not allowed to write poetry about,” Elhillo tells Dana Goodyear. “I think I really had to sit down and dismantle this idea that if I was polite enough, respectful enough, modest enough, quiet enough, silent enough—that nobody would ever want to do me harm.”

Rudolf Vrba was sent to Auschwitz at the age of seventeen, and, because he was young and in good health, he was not killed immediately but put to labor in the camp. Vrba (originally named Walter Rosenberg) quickly discovered that the scale of the killing was greater than anyone on the outside knew or could imagine, and Jewish communities were being deported without understanding their fate. Jonathan Freedland chronicles Vrba’s story in his new book, “The Escape Artist.” The young Vrba had a “crucial realization, which is [that] the only way this machine is going to be stopped—this death machine—is if somebody gets the word out,” Freedland told David Remnick. Freedland recounts how, against terrible odds, Vrba managed to escape the camp, and provided direct testimony of the Holocaust that reached Allied governments. This interview was recorded at a live event at the Museum of Jewish Heritage—A Living Memorial to the Holocaust.

The first season of “The White Lotus” won ten Emmy Awards and was a critics’ favorite. A dark satire of the privileged, the show chronicled the visit to a luxurious Hawaiian resort of a tech mogul and her family, a pair of newlyweds, and a single woman—all having the worst time of their lives—while the hotel manager goes off the wagon in a way both hilarious and harrowing. In Season 2, creator Mike White has moved the action to Sicily, and is focussing on gender roles and masculinity. White speaks with the staff writer Naomi Fry about his upbringing as the child of a minister, in a modest family in a wealthy community. “I hope that I’m not writing this show for the rest of my career,” White says. “But it does feel like, if you’re taking a snapshot, I am being true to the things that I’m thinking about right now.”

Russell Moore, a prominent figure in the Southern Baptist Convention, resigned over the church’s response to racism—which Moore considers a sin—and documented sexual abuse allegations. The theologian sits down with David Remnick to reflect on the intersection of Christianity and American politics. “Jesus always refused to have his gospel used as a means to an end,” Moore says. “People who settle for Christianity or any other religion as politics are really making a pitiful deal.” Plus, the contributing writer Eliza Griswold reports on an energized movement of Christian nationalists aiming for statewide power in Pennsylvania. They believe that the authority to rule comes from God, not from a plurality of voters. “This isn’t about injecting Christian values into society,” Griswold notes, “this is about overthrowing secular democracy.”

Francis Suarez, the Republican mayor of Miami, is popular in the city he governs, and increasingly prominent beyond it. Conservative voices as disparate as Kanye West and George Will have floated him as a 2024 Presidential candidate. Suarez is a proudly dissident Republican: he loves tech companies, welcomes migrants, and thinks his party can lead the fight against climate change. He’s no culture warrior, and, though he shares a state with Donald Trump and Ron DeSantis, he has kept both at arm’s length. So is he, Kelefa Sanneh wonders, a Republican at all? Suarez seems to be taking a long view. “Leadership,” he says, depends on whether “you have the talent to articulate a message, a vision, and a plan to get people to a place where people will follow—even if maybe they’re not so sure, maybe they’re not that comfortable with it.”

Last month, The New Yorker published a Personal History about growing up in Ireland during the nineteen-sixties and seventies. It covers the interfaith marriage of the author’s parents, which was unusual in Dublin; his mother’s early death; and finding his calling in music. The author was Bono, for more than forty years the lyricist and lead singer of one of the biggest rock bands on the planet. As U2 sold out arenas and stadiums, Bono held forth on a range of social causes; he became “the definitive rock star of the modern era,” as Kelefa Sanneh puts it. Bono joined David Remnick at the 2022 New Yorker Festival to talk about his new memoir, “Surrender.” “When I sang in U2, something got ahold of me,” Bono said. “And it made sense of me.” They discussed how the band almost ended because of the members’ religious faith, and how they navigated the Troubles as a bunch of young men from Dublin suddenly on the world stage. Bono shared a life lesson from Paul McCartney, and he opened up about the early death of his mother. “This wound in me just turned into this opening where I had to fill the hole with music,” Bono said. In the loss of a loved one, “there's sometimes a gift. The opening up of music came from my mother.”

This year’s New Yorker Festival featured two conversations with renowned playwrights: Suzan-Lori Parks and Martin McDonagh. Parks, the first African American woman to receive the Pulitzer Prize for drama, sat down with the staff writer Vinson Cunningham. “The marketplace is telling us that Black joy is what sells,” she said. “I’m very suspicious about what the marketplace wants me to create because I know in my experience where real Black joy resides—and sometimes that’s in the place where there might be some traumatic thing that also happened.” A revival of Parks’s groundbreaking play, “Topdog/Underdog,” just opened on Broadway. And McDonagh, who is out with a new film, “The Banshees of Inisherin,” spoke with Patrick Radden Keefe. “The Banshees of Inisherin” traces the story of a friendship breaking apart in the beautiful, remote hills of western Ireland. “I just wanted this [movie] to be sort of plotless in a way,” McDonagh said. “Just to have the unravelling of this breakup be what the whole story was about.”

The security of voting has become a huge topic of concern. That’s especially true after 2020, when it became an article of faith for Trump supporters that the election was somehow stolen by President Joe Biden. Alex Halderman, a professor of computer science and engineering at University of Michigan, has been studying voting machines and software for more than a decade. “We made a number of discoveries, including that [voting machines] had vulnerabilities that basically anyone could exploit to inject malicious software and change votes,” he tells the staff writer Sue Halpern. Conspiracy theories aside, he says, we must address those vulnerabilities in computerized voting. But hand counting of ballots, advocated by some election skeptics, is not a plausible solution. “Perhaps as time goes on we’ll get Republicans and Democrats to agree that there are some real problems in election security that we would all benefit from addressing. ”

Arthur Less is a novelist—a “minor American novelist,” to be precise. He’s a man whose biggest talent seems to be taking a problem and making it five times worse. And he’s the hero of Andrew Sean Greer’s novel “Less,” which won the Pulitzer Prize for fiction, an especially rare feat for a comic novel. Andrew Sean Greer is now out with a sequel, “Less Is Lost,” which takes Arthur on a road trip across the U.S. He talks with the staff writer Parul Sehgal. Plus, for thirty years, the poet Ellen Bass has taken the same walk almost every day, on West Cliff Drive, a road along the ocean in Santa Cruz, California. Friends and family have teased her for being stuck in her ways, so she wrote the poem “Ode to Repetition,” about taking the same walk, listening to the same songs, and doing the same daily tasks, as life marches toward its end. (This segment originally aired May 26, 2017.)

Tom Stoppard has been a fixture on Broadway since his famous early play, “Rosencrantz and Guildenstern Are Dead,” travelled there in 1967. Stoppard is eighty-five years old, and has largely resisted the autobiographical element in his work. But now, in “Leopoldstadt,” a play that has just opened on Broadway, he draws on his family’s tragic losses in the Second World War. Stoppard talks with the contributor Andrew Dickson about his latest work. And the Oscar- and Emmy Award-winning actor Geena Davis, best known for her role in “Thelma and Louise,” talks with the staff writer Michael Schulman about her life and career. Davis ascribes much of her early experience on- and offscreen to a certain level of politeness, a character trait ingrained in her from childhood. “I learned politeness from minute one, I’m sure,” she tells Schulman. “That was my family: very old-fashioned New Englanders.” She reflects on her childhood, her iconic roles in the eighties and nineties, and her “journey to badassery” in her new memoir, “Dying of Politeness,” out this month.

Since the reversal of Roe v. Wade, the contributor Stephania Taladrid has been following a network of women who are secretly distributing abortion pills across the United States. The network has its roots in Mexico, where some medications used for at-home abortion are available at a lower cost over the counter. Volunteers—they call themselves “pill fairies”—are sourcing the pills at Mexican pharmacies and bringing them over the border. The work is increasingly perilous: in states like Texas, abetting an abortion is considered a felony, carrying long prison sentences. But, to Taladrid’s sources, it’s imperative. “I mean, there’s nothing else to do, right?” one woman in Texas, who had an abortion using the medication she received from a pill fairy, said. “You can’t just lie down and accept it. You can’t.” Note: The interview excerpts featured in this story (with the exception of Verónica Cruz) are not the actual voices of Taladrid’s subjects. To protect their anonymity, the excerpts were re-recorded by actors. Read Stephania Taladrid’s full reporting at newyorker.com.

In its last term, the Supreme Court dropped bombshell after bombshell—marking major conservative advances on gun rights, separation of church and state, environmental protection, and reproductive rights. “The Court is not behaving as an institution invested in social stability,” the contributor Jeannie Suk Gersen wrote in July. She joins David Remnick to preview the Court’s fall term. Plus, after covering the landslide victory for pro-choice forces in Kansas this summer, the contributor Peter Slevin has been following midterm races in Michigan, where voters this fall will decide not only on state and congressional races but also on a constitutional amendment that would guarantee the right to an abortion in the state.

The contributor Joshua Yaffa, who was based in Moscow for years and has been reporting from Ukraine since the start of the war, speaks to David Remnick from Kyiv. There, Yaffa says, the latest news from Russia—including threats of nuclear attack and reports of political upheaval—has been treated with near-indifference. “Ukraine has been in the fight for its survival since the end of February, fully aware that Russia is ready to throw any and all resources at the attempted subjugation of the Ukrainian state,” he says. “And after things like the massacre in Bucha and other areas outside of Kyiv, earlier this spring, there’s not much that can surprise or shock or scare the Ukrainian public about what Russia is ready to do.”

One of the first queer rom-coms released in cinemas by a major studio, “Bros” is making movie history. But the film’s co-writer and star, the comedian Billy Eichner, tells David Remnick that the milestone has taken too long to achieve. “Culture and society at large, for the vast majority of human existence, [did] not want to talk about the private lives of gay people and L.G.B.T.Q. people,” he says. Plus, the staff writer Katy Waldman talks with the prolific novelist Joyce Carol Oates about the new film adaptation of her novel “Blonde,” which premières on Netflix this week. Directed by Andrew Dominick, it’s a fictionalized account of the life of Marilyn Monroe. Oates tells Waldman that she enjoyed the production but found it “extremely emotionally exhausting” and “not for the faint of heart.”

Earlier this month, two acclaimed musicians—Questlove and Maggie Rogers—joined The New Yorker’s Kelefa Sanneh live onstage for a conversation that probed at an essential question for musicians and music lovers alike: How can music provide a spiritual experience, and how do we sustain that feeling in our lives? Questlove—the co-founder of the Roots and the musical director of the “Tonight Show”—was one of Rogers’s professors while she was an undergraduate at New York University, and the two have stayed in touch. Rogers received a 2019 Grammy nomination for Best New Artist, after the release of her début album, “Heard It in a Past Life.” Onstage, both musicians reflected on the space that the pandemic has given them to turn inward, finding a more sustainable path in their careers. “Music is not a job, it’s a way of being,” Rogers said, to which Questlove laughed. “I’m glad you know that at twenty, because I had to learn that at fifty,” he said. Rogers also performed songs off her new album, “Surrender.”

Roger Federer is playing the last professional tennis match of his career this week. It’s the end of an incredible run. Over two decades, he has demonstrated an unmatchable court intelligence and temperament, winning twenty Grand Slam titles and spending three hundred and ten weeks as the top-ranked men’s player. In 2019, on the eve of playing in his nineteenth U.S. Open, Federer spoke with David Remnick about how he got over an early hot temper and predilection for throwing racquets on the court. At the advanced age of thirty-eight—and as a father of young children—Federer explained what he had to give up in order to keep playing professionally. “I think it’s nice to keep on playing, and really squeeze the last drop of lemon out of it,” he told Remnick, “and not leave the game of tennis thinking, Oh, I should have stayed longer.” This segment originally aired on August 23, 2019.

Now seven weeks away, the midterms are often cast as a referendum on the President and his party. But, this year, some see democracy itself on the ballot. One of those people is the attorney Mark Elias, who has made the fight for voting rights his mission. The Supreme Court will hear two of his cases in its upcoming term, which starts next month. Earlier this year, the staff writer Sue Halpern profiled Elias for The New Yorker, and she spoke with him again recently about the legal fight ahead. “I really believe that when the history books are written,” says Elias, “what they write about our generation will be whether or not we were able to preserve democracy.”

Not only are we living in a time where people are proud of their ignorance, argues the writer and comedian Andy Borowitz, but some of our most educated politicians are now playing down their intelligence as a strategy to get elected. Borowitz, the author of the long-running satirical column The Borowitz Report, examines this phenomenon in his new book, “Profiles of Ignorance: How America’s Politicians Got Dumb and Dumber.” “When Trump was elected, a lot of us supposedly knowledgeable people were taken by surprise,” he tells David Remnick. “But the more I researched the past fifty years, the more likely and plausible—and maybe even inevitable—his election was, because he actually had a great deal in common with his forebears." Plus, native to the waters of the Indo-Pacific, lionfish have proven themselves incredibly well adapted to the Atlantic coast. In their original habitat, the fish are kept under control by natural predators: groupers, eels, and sharks. But, elsewhere, predators can’t compete, and lionfish—with their voracious appetite and high fecundity—are upending the equilibrium of reef life. The staff writer D. T. Max takes a stab at lionfish spearing off the coast of Florida and talks with one of the most passionate lionfish hunters diving today, Rachel Bowman.

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,” for which she just won her first Emmy Award. 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 The New Yorker’s 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.” This segment was originally aired on February 25, 2022.

Nearly seventy years after the Brown v. Board of Education decision, our public schools effectively remain segregated. And, by some measures, New York City has the most segregated system in the country. For a group of high schools in Brooklyn, change has long seemed impossible. But now those schools are putting their hopes in an unlikely place: sports. The John Jay Educational Campus in Park Slope, Brooklyn, houses four public high schools. Three of them have a student body with a Black-and-Latino majority; the fourth is disproportionately white and Asian. For a decade, students from all four schools shared a cafeteria and a gym but played on two separate sports teams—sometimes even competing against one other. Last year, the athletics programs merged, and the hope is that this change will break down some of the divisions between students. Angelina Sharifi, a student who plays volleyball, said that a team has to mesh in order to win. “And meshing is, like, the best feeling ever—having a pass, set, swing, that fits perfectly with one another,” she said. “That kind of unspoken connection that comes with volleyball is super-satisfying for me. This is a story of how students and adults grapple with enduring inequities, and how the merger is playing out on the girls’ varsity volleyball team. “I want this to work. I really do,” the student Mariah Morgan said, “because it has the potential to be incredibly anti-racist.” This reporting originally aired as part of the podcast “Keeping Score,” a co-production of WNYC Studios and The Bell.

Aimee Mann, the celebrated Los Angeles singer and songwriter, recently released an album called “Queens of the Summer Hotel.” It was inspired in part by Susanna Kaysen’s best-selling memoir “Girl, Interrupted,” about Kaysen’s time in a psychiatric hospital. Mann sat down with Atul Gawande at The New Yorker Festival to talk about the new album, the lessons of living through a pandemic, and how liberated she felt when she broke her ties with major record labels. “When you’re at a record label and you’re trying to ascertain whether something can be a hit or a single, you listen in a different way—and then everything sounds like garbage,” she said. Mann decided that she didn’t “want to keep baring my soul to people who hate everything I’m doing.” This segment was originally aired November 26, 2021.

At The New Yorker Festival, Dave Grohl talked with Kelefa Sanneh about Grohl’s recent book, “The Storyteller: Tales of Life and Music.” Grohl, who was the drummer for Nirvana before becoming the front man of the Foo Fighters, recalled one of his earliest experiences of taking music seriously: harmonizing with his mom to Carly Simon on the car radio. He also talked about what it was like to collaborate with Kurt Cobain, who was known for his capricious genius, and about stepping out from behind the drums to lead his own band. “After Kurt died, I was, like, I’m not playing music anymore—it’s too painful,” he remembered. “And then I eventually realized that if music saved my life, my entire life, this is what’s going to save my life again.” This segment was originally aired November 26, 2021.

Since the F.B.I. raid on former President Donald Trump’s home, Mar-A-Lago, the phrases “civil war” and “lock and load” have trended on right-wing social media. The F.B.I. and the Department of Homeland Security are taking the threats seriously, and issued an internal warning that detailed specific calls for assassinating the judge and the agents involved in authorizing and carrying out the search. Where could this all be headed? 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 Political Violence at a Glance. 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.” This segment was originally aired January 7, 2022. The segment also features an excerpt from “The Muddle,” a short story by Sana Krasikov. The full story is available on newyorker.com.

Jenifer Lewis is known as the “Mother of Black Hollywood” for good reason; her screen progeny have included Whitney Houston, Angela Bassett, and Tupac Shakur. In her latest turn, she’s playing the alpha boss of a home-shopping network on the Showtime series “I Love That For You.” It’s no surprise that Lewis keeps getting cast as formidable ladies—the roles come naturally to her, as you’ll hear in her conversation with the New Yorker contributor Michael Schulman. Lewis’s new memoir is called “Walking in My Joy: In These Streets.”

The Republican Party has recently attracted an almost unprecedented number of Black candidates to its fold—more than at any time since the Reconstruction era. “In a moment where the Party . . . has really wholeheartedly embraced white-grievance politics,” Leah Wright Rigueur tells David Remnick, “they are endorsing more Black candidates than they have in the past twenty-five years.” Rigueur is a historian at Johns Hopkins University and the author of “The Loneliness of the Black Republican.” The G.O.P., she argues, is exploiting a moment when the long-standing relationship between Black Americans and the Democratic Party is weakening, and it aims to capitalize on an “everyday conservatism” among voters. “It actually makes sense that in the aftermath of Barack Obama—with Black people’s levels of support and warmth for the Democratic Party in decline and the belief among a small sect of African Americans that [it] is just as racist as the Republican Party—that actually frees some people up to actually vote Republican.” Plus, the staff writer Emma Green, who covers the pro-life movement, discusses how individuals’ positions seldom reflect the furious partisan divide, and she shares some nuanced sources that have informed her reporting.

Neil Gaiman, one of the great fantasy writers of our time, first started writing his comic series “The Sandman” in the nineteen-eightiess. Decades later, a TV adaptation is a huge hit on Netflix, topping the platform’s charts in countries across the globe. Gaiman talks with the producer Ngofeen Mputubwele about the powerful role that fantasy can play in helping audiences process real experiences in their lives. “You’re making things that aren’t true,” he says, “and you’re giving them to people in order to allow them to see—we hope—greater truths.” Though the Netflix début marks a major expansion of “The Sandman” ’s visibility, the series has long attracted audiences beyond ardent comic fans. Looking back to the early success of his comics, Gaiman recalls, “I would go to conventions and large, sweaty gentlemen would come over to me, grab my hands and say, ‘You brought women into my store. . . . Let me shake your hand.’ ”