The New Yorker Radio Hour

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.’ ”

Electric cars, compared to cars with internal-combustion engines, are nearly silent, which can present a danger to cyclists and pedestrians. So car companies are turning to sound engineers to craft artificial soundtracks for things like backing up, or starting the engine. John Seabrook, who writes often about music, reported on the composers and designers who are building a new soundscape for the streets and highways of America. Plus, a visit with Ada Limón, who was recently named the twenty-fourth U.S. Poet Laureate. Limón lives in Kentucky, and in 2018 she took the Radio Hour to her favorite racetrack, and spoke about her lifelong love of horses.

The Inflation Reduction Act now before Congress is being celebrated as the most important piece of climate legislation in the history of this country—which is “a pretty low bar,” the staff writer and Pulitzer Prize-winner Elizabeth Kolbert tells David Remnick, “because they’ve never really passed a piece of legislation on climate change.” The Inflation Reduction Act is a huge political victory for Democrats; will it help save the planet? And we look at how pro-choice messaging in Kansas delivered a surprise victory for reproductive choice by borrowing a classic conservative theme: government overreach.

Alex Kotlowitz is known as a chronicler of the city of Chicago, and of lives marred by urban poverty and violence. His books set in Chicago include “An American Summer,” “There Are No Children Here,” and “Never a City So Real.” But 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. The stretch of wilderness is known as the Boundary Waters Canoe Area. Larger than the state of Rhode Island, it is a patchwork of more than a thousand lakes, so pristine you can drink directly from the surface. At the age of sixty-seven, he finds the days of paddling, the leaky tents, the long portages, the schlepping of days’ worth of food (and alcohol) harder, but Kotlowitz will return to the Boundary Waters as long as he can. This spring, he brought a recorder with him on his annual canoe trip, capturing what has kept him coming back year after year. Plus, Susan Orlean remembers Ivana Trump, who died last month, at the age of 73.

Last month, the story of a 10-year-old rape victim captured national headlines. The young girl was forced to travel out of state because of Ohio’s draconian abortion ban with no exceptions for rape or incest, which would have been nearly unthinkable until very recently. Jane Mayer took a deep dive into statehouse politics to learn how a longtime swing state—Ohio voted twice for President Barack Obama—ended up legislating like a radically conservative one. Its laws, she says, are increasingly out of step with the state’s voters, and this is owing to a sweeping Republican effort at gerrymandering. While familiar, gerrymandering “has become much more of a dark art,” Mayer tells David Remnick, “thanks to computers and digital mapping. They have figured out ways now to do it that are so extreme, you can create districts [in which the incumbent] cannot be knocked out by someone from another party.” Mayer also speaks with David Pepper, an Ohio politician and the author of “Laboratories of Autocracy,” who explains how a district is firmly controlled by one party, the representative is driven by the primary process inexorably toward extremism, until you have “a complete meltdown of democracy.”

Much of the globe has seen record-breaking temperatures in recent heat waves that seem increasingly routine. Dhruv Khullar, a contributor and a practicing physician, looks at the effects of extreme heat in India, where the capital, New Delhi, recorded a temperature this year of 122 degrees. “People are amazingly resilient,” he notes. “But I think we’re approaching that point where even the most resilient people, the type of lives that they have to live—because of climate change—are not going to be sustainable for very much longer.” And the climate activist Daniel Sherrell talks about his book “Warmth: Coming of Age at the End of the World” with Ngofeen Mputubwele. The book articulates Sherrell’s view that we can live now only by walking a tightrope between hope and despair.

Jamie Raskin, a Democrat from Maryland, serves on Congress’s Select Committee to Investigate the January 6th Attack on the Capitol. He spoke with David Remnick about the effort to demonstrate Donald Trump’s culpability in the insurrection in a way that would resonate with voters, and about Trump’s political future. Trump is “guilty as sin, and everybody can see it,” Raskin says, and he is running low on patience for the Department of Justice to act. “As a citizen, I would hope and expect to see action,” Raskin notes, given the committee’s findings. “But I try to be careful not to browbeat the Attorney General of the United States.”

Jason Isbell got into the music business early; he had a publishing deal when he was twenty-one. But he really came into his own as a songwriter around ten years ago, as he was getting sober from years of alcohol and drug use. His record “Southeastern,” which comes in the tradition of musicians like Guy Clark, swept the Americana Music Awards in 2014. Isbell spoke with John Seabrook at The New Yorker Festival in 2016, shortly after his record “Something More than Free” was released, and he played a live set of songs including “Different Days,” “How to Forget,” and “Speed Trap Town.” This segment first aired December 30, 2016.

In New Mexico, Governor Michelle Lujan Grisham has declared the state a “reproductive safe haven” between Arizona to the west, and Texas to the east. Already, she says, New Mexico’s few abortion clinics are seeing an influx of patients from outside its borders. “When you are a safe-haven state,” she says, “you put real stress on [the] current provider system.” Lujan Grisham speaks with David Remnick about her executive order—issued days after the Supreme Court decision in Dobbs—to prevent the extradition of abortion providers, a request that she expects to see from Texas law enforcement. Dobbs puts states at odds over one of the contentious issues of our time. “They’ve invited states now to fight with each other, sue each other,” she says; this is “the most despicable and horrible aspect, frankly, of this particular decision.”

Evan Puschak, known on YouTube as the Nerdwriter, posts videos dissecting topics from Shakespeare and Tarkovsky to Superman; from Martin Luther King, Jr., and Bernie Sanders to Donald Trump. The videos are complex; he may spend weeks editing image, sound, and written narration. He spoke with the Radio Hour’s Ngofeen Mputubwele about what drew him to the essay form, and how he’s found success online. “The essay is not a treatise. It’s not a term paper. It’s not something systematically covering everything about a subject,” Puschak says. “It is an inquiry. . . . The cool thing about the video essay is that you are seeing these people’s thoughts articulated with a whole new toolbox.” As much as he loves the video form, Puschak is crossing over into print next month with a book of essays titled “Escape Into Meaning.” Plus, the writer Kelefa Sanneh highlights some notable tracks playing on country radio stations this summer.

Until very recently, Dmitry Bykov was a huge presence on the Russian literary scene. He is a novelist, a poet, a biographer, and a critic. He was a frequent presence on Echo of Moscow, the liberal radio station that was closed after the invasion of Ukraine, and his blunt political commentary made him an enemy of the regime. Bykov was teaching in the United States, at the Institute for European Studies at Cornell University, when the invasion of Ukraine began, and because of his forthright opposition to it, he may not be able to return home as long as Putin remains in power. Bykov calls Putin’s dictatorship “the final stage of Russian decline.” He blames not only Putin himself but the Russian people for the failure of democracy to take root. “In Russia they have a choice: to change the country—change themselves—or to keep Putin. They prefer to keep Putin,” Bykov tells David Remnick. “They’re really ready to die, but not to change their mind.” Most Russians, he continues, seem content “to make Putin responsible for everything, exclaiming, ‘We didn’t know, we couldn’t prevent him.’ ”

The comedian Hannah Gadsby has been touring this summer with a show called “Body of Work.” She came to wide attention in 2018, with the Netflix special “Nanette.” It was a full-length comedy show, and, at the same time, a carefully structured critique of standup comedy which argued that comedians have to distort personal experience for the sake of a joke, inflicting a kind of violence on themselves and their audiences. Gadsby recently published a memoir about her breakout moment called “Ten Steps to Nanette.” The New Yorker’s Emily Nussbaum talked with Gadsby back in 2018, when “Nanette” had just been released. Plus, Patricia Marx tries the trendy relaxation technique called flotation therapy—formerly known as a sensory deprivation tank. But relaxing, Marx found, is just too stressful, and her microphone was the only thing that found peace.

Justice Clarence Thomas once was an outlier for his legal views. But Thomas is now the heart of the Court’s conservative bloc, and his concurring opinion in the recent abortion ruling calls out some other precedents the Court might overturn. Jeannie Suk Gersen teaches constitutional law at Harvard Law School and clerked for former Justice David Souter on the Supreme Court; she has been covering the end of Roe v. Wade for The New Yorker, and she spoke with David Remnick about Thomas’s concurrence. It articulates a view more extreme than Justice Alito’s majority opinion, saying that other rights derived from privacy—such as contraception and same-sex intimacy—are not constitutional rights at all. “We have to remember he’s been saying it out loud for quite some time,” Suk Gersen says. “This is not a new thing from Justice Thomas. It’s just that we normally—over decades—didn’t pay that much attention to him, because he was alone in his dissents and concurrences.”

All her life, Astrid Holleeder knew that her older brother Willem was involved in crime. But she was stunned when, in 1983, Willem and his best friend, Cornelius van Hout, were revealed to be the masterminds behind the audacious kidnapping of the beer magnate Alfred Heineken. It was the beginning of a successful career for Willem, known as Wim. After a stay in prison, he became a celebrity criminal; he had a newspaper column, appeared on talk shows, and took selfies with admirers in Amsterdam. He got rich off of his investments in the sex trade and other businesses, but kept them well hidden. But when van Hout was assassinated and other associates started turning up dead, Astrid suspected that her brother had committed the murders. She decided to wear a wire and gather the evidence to put him away. If that didn't work, Astrid tells staff writer Patrick Radden Keefe, she would have to kill Willem herself. After Astrid testified against him, Willem was convicted of multiple murders. Living in hiding, and travelling in disguise, she tells Keefe the story of her complicity and its consequences. Keefe’s New Yorker story about Astrid Holleeder appears in his new collection, “Rogues: True Stories of Grifters, Killers, Rebels, and Crooks.” This segment originally aired August 3, 2018.

The Supreme Court’s ruling in the Dobbs case was not a surprise; given the draft opinion that was leaked in May, its decision to overturn Roe v. Wade and Planned Parenthood v. Casey was nearly a certainty. But the effects of the ruling have been rapid and chaotic. In some states, abortions stopped overnight; in others, there’s profound confusion over what qualifies as a legally acceptable reason for having an abortion. Far from settling the legal issue of abortion—by sending it back to the states—the Dobbs ruling opens an uncharted legal dimension where the health of a pregnant person is being pitted against the life of a fetus, with potentially fatal consequences. “Flat out, women will die in the course of ordinary pregnancy,” Jia Tolentino says, “because of physician fears about anything that might make them liable for felony changes of performing an abortion. It will make pregnancy significantly more dangerous for many, many people.” Tolentino and Stephania Taladrid have both reported extensively on abortion access, and they spoke this week with the New Yorker editor Tyler Foggatt. A longer version of this conversation appears on The New Yorker’s Politics and More podcast.

When the New Yorker staff writer Andrew Marantz first heard that the Conservative Political Action Conference, the flagship event of the American conservative movement, was holding a meeting in Hungary, he thought it might be a joke. “A lot of people have worried for a few years now that the Republican Party is becoming more ambivalent about certain bedrock norms of American democracy,” Marantz told David Remnick. “To openly state, ‘We’re going to this semi-authoritarian country’ . . . I thought it was maybe a troll.” But C.P.A.C. Hungary was very real, and the event demonstrated an increasingly close relationship between American conservatives and authoritarians abroad. Viktor Orbán wins elections and claims a democratic mandate, but his legislative maneuvers and rewrites to the constitution have rendered political opposition increasingly powerless. Marantz finds the admiration for him by many in America unsettling. “I couldn’t really imagine a Putin-style takeover” of power in America, Marantz says; but “this kind of technical, legalistic Orbán model” seems all too plausible.

Alan Alda spent his early years in the burlesque theatres where his father, the actor Robert Alda, would perform. Those early years opened his eyes in more ways than one: “I was very aware of the naked women,” he told The New Yorker’s Michael Schulman, “but I was also aware of the comics.” Watching from the wings, Alda grew an appreciation for being funny, being creative, and being present. He put those skills to use for eleven years on “M*A*S*H” and in dozens of other performances on stage and screen—recently, as a divorce lawyer for Adam Driver’s character in “Marriage Story.” But it was only later in life that Alda realized his skills might be useful in another arena: science. Alda made it his crusade to help scientists communicate their ideas to a broad audience. “What occurred to me,” Alda told Schulman, “was that if we trained scientists starting from actually improvising, they would be able to relate to the audience the way they were relating to me.” He hosted a series of science programs and founded the Alan Alda Center for Communicating Science at Stony Brook University. He also started a podcast. On “Clear+Vivid with Alan Alda,” Alda interviews luminaries from the fields of science, politics, and entertainment, drawing on his training to make their specialist knowledge accessible to listeners. Interviewing, he thinks, isn’t unlike performing with a scene partner: “You have to relate to the other person,” says Alda. “You have to observe the other person. You have to be watching their face, their body and language” to determine what it is the guest “really means.” Plus, if you’re still looking for something for the kids to do this summer, have you considered Horse Camp? A comedy sketch by Emily Flake and Sarah Hutto.

A survey that started as a student project at Stanford University has become a popular dating and relationship tool on campuses across the country. Its goal is to delve deeper than the superficial information found on a typical dating-app profile, connecting people based on deeply held values rather than looks or sports teams. Most apps, says Liam MacGregor, who created the Marriage Pact with a fellow-student, “were designed to solve really specific problems … if you want a short-term relationship. But because they’re the only tools out there, people have tried to use them to solve these other problems.” The Marriage Pact “set out to solve this very specific problem at the beginning: If you need a backup plan for a 50-year-long relationship, who’s right for that?” Would you put an elderly relative in a nursing home? Do you keep people as friends because they might be useful to you later? Would you keep a gun in the house? More than 250,000 students across more than 75 campuses have taken the survey. The Radio Hour’s producer KalaLea talked to students at Princeton University, where the survey was being conducted, to find out what it was all about. Plus, perched high above the ice at Madison Square Garden, the organist Ray Castoldi has conducted the soundtrack of Rangers games and more for thirty years.

Florida Governor Ron DeSantis has shown himself uniquely skilled at attracting attention beyond the borders of his home state. Just this month, DeSantis blocked state funds for the Tampa Bay Rays stadium after players voiced support for gun control in the wake of the mass shooting in Uvalde, Texas. He’s also continuing a fight to punish the Disney Corporation for criticizing Florida’s so-called Don’t Say Gay law. An Ivy League-educated anti-élitist firebrand, he is willing to pick a fight with anyone—reporters, health officials, teachers, Mickey Mouse—to grab a headline. DeSantis “practically radiates ambition,” the staff writer Dexter Filkins tells David Remnick. “He sounds like Trump, except that he speaks in complete sentences. … He’s very good at staking out a position and pounding the table and saying, I’m not giving in to the liberals in the Northeast.” Yet despite having been anointed by Donald Trump in his primary election, DeSantis has refused to “kiss the ring,” and many see DeSantis as a possible opponent to Trump in a 2024 Republican primary.

Michael R. Jackson’s Tony and Pulitzer Prize-winning musical “A Strange Loop” features a Black queer writer named Usher, who works as an usher, struggling to write a musical about a Black queer writer. Jackson’s work tackles the terror of the blank page alongside the terrors of the dating scene, and it speaks in frank and heartbreaking terms about Usher’s attempt to navigate gay life among Black and white partners. Hilton Als talked with Jackson about how he found inspiration in his own experience seeking identity and community. “I started writing the original monologue—building a sort of life raft for myself—to understand myself,” Jackson said. “It wasn’t until I got to a place of understanding that in my life I was caught up in a loop of self-hatred, that I could see what Usher’s problem was, and therefore what the structure of the piece was that would lead him out of that and into a better place.” “A Strange Loop” is playing now at the Lyceum Theatre, on Broadway.

Ian Frazier, who has chronicled American life for The New Yorker for more than forty years, travelled to a house in Fort Collins, Colorado, where three roommates build, fly, and race drones. Jordan Temkin, Zachry Thayer, and Travis McIntyre were among the early professional drone racers in the sport, piloting the tiny devices through complex courses at upward of eighty miles an hour. Drones have had an enormous impact on military strategy, and the commercial applications seem limitless, but to these pilots drones exist in the strange overlap between pure adrenaline and big money that defines pro sports. This piece originally aired on February 9, 2018.