The New Yorker Radio Hour

The Future of Trumpism

<p><span>Nicholas Lemann’s “</span><a href="https://www.newyorker.com/magazine/2020/11/02/the-republican-identity-crisis-after-trump"><span>The Republican Identity Crisis After Trump</span></a><span>” explores what will happen to the movement Donald Trump created among Republicans. In his 2016 campaign, he ran as a populist insurgent against Wall Street, “élites,” and the Republican Party itself—mobilizing voters against their traditional leadership. But, in office, he has governed largely according to the Party’s priorities. If Trump loses next month’s election, what will become of the movement he created? Lemann spoke with David Remnick about three possible scenarios for Republicans. Plus, the<span> </span><em><span>New Yorker</span></em><span><span> </span>music critic Carrie Battan describes how the sound of Korean pop is becoming part of the American mainstream.</span></span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Elvis Costello Talks with David Remnick

<p><span>Elvis Costello’s thirty-first studio album, “Hey Clockface,” will be released this month. Recorded largely before the pandemic, it features an unusual combination of winds, cello, piano, and drums. David Remnick talks with Costello about the influence of his father’s career in jazz and about what it’s like to look back on his own early years.  They also discuss “Fifty Songs for Fifty Days,” a new project leading up to the Presidential election—though Costello disputes that the songs are political. “I don’t have a manifesto and I don’t have a slogan,” he says. “I try to avoid the simplistic slogan nature of songs. I try to look for the angle that somebody else isn’t covering.” But he notes that “the things that we are so rightly enraged about, [that] we see as unjust . . . it’s all happened before. . . . I didn’t think I’d be talking with my thirteen-year-old son about a lynching. Those are the things I was hearing reported on the news at their age.”  </span></p> <p><span>Costello spoke from outside his home in Vancouver, B.C., where a foghorn is audible in the background. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Alexandria Ocasio-Cortez and Elizabeth Warren on the State of Our Democracy

<p><span>At the 2020 New Yorker Festival, earlier this month, Representative Alexandria Ocasio-Cortez and Senator Elizabeth Warren joined Andrew Marantz to talk about the Presidential race, and how Joe Biden should lead if he wins the election. Plus, </span><span>Dexter Filkins on the fierce electoral battle taking place in Florida, the largest of the swing states. With a large elderly-voter population and many distinct Latino communities, the state is demographically unique. Filkins spoke with the former sSenator Bill Nelson and others, including </span><i><span>The New Yorker’s</span></i><span> Stephania Taladrid, who has been reporting on the Latino vote in different states.  </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

The Battle Over Portland

<p><span>During the Presidential debate in September, Donald Trump was asked to denounce the white supremacists who were battling anti-racism protesters in Portland; instead, he blamed leftists for the violence and told the Proud Boys to “stand by.” The Pacific Northwest has a long history of white-supremacist violence, going back to the days of the Oregon Territory. Today, white nationalists have chosen to make liberal Portland a battleground. As clashes between anti-racism protesters and extremists intensify, one man remembers the basic injustices that brought him to the streets in the first place. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Anthony Fauci Then and Now, and the Writer-Director Radha Blank

<p><span>At the moment that Donald Trump was leaving Walter Reed Hospital, not yet recovered from a case of </span><span>COVID</span><span>-19, Dr. Anthony Fauci sat down with </span><a href="https://www.newyorker.com/contributors/michael-specter"><span>Michael Specter</span></a><span> to discuss the coronavirus and its impact on America. For the President—and all of us counting on a vaccine to miraculously deliver us back to normalcy—Fauci offers a reality check. “</span><span>Let’s say we have a vaccine and it’s seventy per cent effective. But only sixty per cent of the people [are likely to] get vaccinated. The vaccine will greatly help us, but it’s not going to eliminate mask-wearing, avoiding crowds, and things like that.” Plus, Vinson Cunningham talks with Radha Blank about her loosely autobiographical new film, which won her best director at Sundance. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Marilynne Robinson on Faith, Love, and Politics

<p><span>Marilynne Robinson’s new novel, “</span><a href="https://www.amazon.com/Jack-Novel-Marilynne-Robinson/dp/0374279306"><span>Jack</span></a><span>,” is the fourth to be set among the world and people of a fictional town called Gilead, Iowa. The novelist grew up in Idaho, and, when she moved to the flatter country of Iowa, she “noticed that the landscape had a very high number of little colleges scattered over it,” she tells David Remnick, that were sometimes the oldest buildings in a town. “I wanted to know who had built these things, that this was how you would settle an empty landscape. And that was when I came across the abolitionist movement. Those were the people who did this.” From that history and culture, Robinson imagined Gilead and the old preacher named John Ames who narrates the first book in her series. “Jack” concerns the son of Ames’s closest friend, who was disgraced and left Gilead. The book finds Jack, who is white, in St. Louis and in a predicament: he is in love with a Black woman, at a time when an interracial relationship was a scandal and, in some places, a crime. Plus, the début novelist Douglas Stuart. <span>After two decades of working in the fashion industry and dreaming about writing, Stuart recently published an acclaimed first novel, “</span><a href="https://www.amazon.com/Shuggie-Bain-Douglas-Stuart/dp/0802148042"><span>Shuggie Bain</span></a><span>.” He showed us around his old stomping grounds in New York’s garment district. </span></span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

The Election, as Seen from Swing States

<p><span>Joe Biden leads the Presidential race in Pennsylvania by around ten per cent, according to most polls, but </span><a href="https://www.newyorker.com/contributors/eliza-griswold"><span>Eliza Griswold</span></a><span><span> </span>says you wouldn’t know it on the ground. Republicans in the state have organized a huge registration drive in recent years, and, while Griswold was driving to Biden’s working-class birthplace of Scranton, she saw Trump signs blanketing the lawns and roads. Peter Slevin, reporting from Wisconsin, tells David Remnick that Democrats there organized early, to avoid the mistake that Hillary Clinton made in 2016 of taking the state for granted. Even so, Biden’s campaign has declined to do risky in-person events, but the Trump campaign, until recently, has proceeded as if coronavirus had never happened. Plus, Andrew Marantz talks with a Tennessee pastor who’s struggling with the intersection of politics and faith.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Keith Knight of “Woke,” and Jia Tolentino Picks Three

<p><span>“Woke,” a new comedy on Hulu, is inspired by the life of its creator, Keith Knight. The show, which blends reality and animated fantasy, follows Keef, a Black cartoonist who is on the cusp of mainstream success when an ugly incident with the police changes his life. Suddenly, Keef is learning about racism from a chatty trash can and other talking cartoon objects, and he experiences a belated political awakening. Knight describes his work to his fellow-cartoonist </span><a href="https://www.newyorker.com/contributors/emily-flake"><span>Emily Flake</span></a><span><span> </span>as “accessible yet subversive.” “Making people laugh and then punching them in the face with a serious issue is the way to work,” he says. Plus, at home with a newborn, the staff writer Jia Tolentino recommends a book, a record, and a reality show that have been entertaining her lately.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Can a Newcomer Unseat Lindsey Graham? Plus, Carlos Lozada on “What Were We Thinking”

<p><span>Jaime Harrison may seem like a long shot to become a South Carolina senator: he is a Black Democrat who grew up on food stamps in public housing, and he has never held elected public office. But a Quinnipiac poll ties him with Lindsay Graham—each has the support of forty-eight per cent of likely voters. Harrison is not exactly a progressive upstart candidate: he’s spent much of his career as a lobbyist, and has worked in the office of House Majority Whip James Clyburn. “I’ve seen the power of how good public servants can really address the issues of what people deal with,” Harrison tells David Remnick. “The worst thing you can do as a public servant is to betray the trust of the people that you represent.” For Harrison, Graham’s decision to support a fast-track nomination to the Supreme Court proves that “his word is worthless.” </span><span>Plus, Carlos Lozada,<span> </span></span><span>a Washington<span> </span></span><em><span>Post</span></em><span><span> </span>books editor, immersed himself in a new genre: books that purport to explain Donald Trump and his era.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Miranda July’s Uncomfortable Comedies, and a Toast to Roger Angell

<p><span>Miranda July’s third feature film is “Kajillionaire,” a heist movie centered on a dysfunctional family, and her first with a Hollywood star like Evan Rachel Wood. Like most of her work, it can be classified as a comedy, but just barely. “There’s some kind of icky, heartbreaking, subterranean feelings about family that I would not willingly have gone towards if it weren’t for the silly heist stuff,” July tells Deborah Treisman, </span><em><span>The New Yorker’s</span></em><span><span> </span>fiction editor. July acknowledges that billing her work as comedy allows her the budget to do things that straight drama might not get: “I knew I wanted to make a bigger movie. It changes the medium, it changes the kinds of things you can think up.” Tresiman, who has edited<span> </span></span><a href="https://www.newyorker.com/contributors/miranda-july"><span>July’s short stories</span></a><span><span> </span>and other writings for the magazine, talks with her about the thread of discomfort and embarrassment that runs through her work in every medium. Plus,<span> </span><span>David Remnick toasts the centennial of Roger Angell, who has contributed to<span> </span></span><em><span>The New Yorker<span> </span></span></em><span>since the Second World War with writings on baseball and every other topic under the sun.</span></span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

An Election in Peril

<p><span>This Presidential race is a battle for the soul and the future of the country—on this much, both parties agree—and yet the pitfalls in the election process itself are vast. David Remnick runs through some of the risks to your vote with a group of staff writers: Sue Halpern on the possibility of hacking by malign actors; Steve Coll on the contention around mail-in voting and the false suspicions being raised by the President; Jeffrey Toobin on the prospect of an avalanche of legal challenges that could delay the outcome and create a cascade of uncertainty; and Jelani Cobb on the danger of violence in the election’s aftermath.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

The Composer Richard Wagner and the Birth of the Movies

<p><span>The German composer Richard Wagner had an enormous influence not only on modern music but on artists of all stripes, and on political culture as well. His use of folkloric material to create modern epics won him the admiration of thinkers like W. E. B. Du Bois, and made him popular in Hollywood since the birth of film. </span><a href="https://www.newyorker.com/contributors/alex-ross"><span>Alex Ross</span></a><span>, whose new book is called “Wagnerism,” tells David Remnick that Du Bois “might have seen ‘Black Panther’ as a kind of Wagnerian project.” And yet Wagner’s music was used to heroically represent the Ku Klux Klan in “The Birth of a Nation.” In fact, the composer’s strident anti-Semitism fed into the rise of Nazism in Germany. The many aspects of Wagner’s influence were often contradictory. “So much baggage arrives with him,” Ross says, but “we aren’t necessarily imprisoned by what the man himself thought.” The composer himself “starts to disappear” as his influence diffuses through society. “He becomes a mirror for what other people are thinking and feeling. And we have that right, we have that power with art. If there’s something about it we reject, we can—without forgetting or overlooking that darker aspect—remake it in our own image.” </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

What to Do with a Confederate Monument?

<p><span>Across the South and well beyond, cities and states have been removing their Confederate monuments, recognizing their power as symbols of America’s foundational racism. In the town of Easton, Maryland, in front of the picturesque courthouse, there’s a statue known as the Talbot Boys. It depicts a young soldier holding a Confederate battle flag, and it honors the men who crossed over to fight for secession. It’s the last such monument in Maryland, outside of a battlefield or a graveyard. </span><a href="https://www.newyorker.com/contributors/casey-cep"><span>Casey Cep</span></a><span> grew up nearby, and she’s watched as the town has awakened to the significance of the statue. Five years ago, when a resolution to remove it came before the county council, the vote was 5–0 opposing removal. But, during a summer of reckoning with police violence and structural racism, the statue came up for a vote again. Is time finally catching up with the Talbot Boys? </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

N. K. Jemisin on H. P. Lovecraft, and Jill Lepore on the End of a Pandemic

<p><span>N. K. Jemisin has faced down a racist backlash to her success in the science-fiction community. But white supremacy in the genre is nothing new, she tells Raffi Khatchadourian. Her recent novel “The City We Became” explicitly addresses the legacy of the genre pioneer H. P. Lovecraft, whose racism was virulent even by the standards of the early twentieth century. It’s not possible, Jemisin says, to separate Lovecraft’s ideology from his greatness as a fantasy writer: his view of nonwhite peoples as monstrous informed the way he wrote about monsters. Rather than try to ignore or cancel Lovecraft, Jemisin felt compelled to engage with him. Plus, the historian and staff writer Jill Lepore describes the desperate measures taken to protect children from polio during a pandemic no less frightening than our own, and how the disease was then forgotten.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Bette Midler and the Screenwriter Paul Rudnick on “Coastal Elites”

<p><i><span>This segment contains adult language.</span></i></p> <p><span>In the new film “Coastal Elites,” Bette Midler plays a New Yorker of a certain type: a retired teacher who lives on the Upper West Side, reads the New York</span><i><span> Times </span></i><span>with Talmudic attention, and is driven more than half mad by Donald Trump. So much so that one day she picks a fight in a coffee shop with a guy wearing a red MAGA hat, and her monologue takes place when she’s in police custody. The role isn’t too much of a stretch: she tells David Remnick about a long-ago dinner at the Trumps’ apartment that she recalls as a nightmare, and, just days after this interview, Midler tweeted some ill-advised comments about Melania Trump’s accent that she had to apologize for. </span><a href="https://www.newyorker.com/contributors/paul-rudnick"><span>Paul Rudnick</span></a><span> wrote “Coastal Elites” as a series of monologues to be performed at the Public Theatre, but seeing no avenue to perform it during the pandemic, he reconceived of it as a film for HBO, starring big names like Kaitlyn Dever, Dan Levy, Sarah Paulson, and Issa Rae. </span><span>And while he’s sad about the state of live theatre, Rudnick has no regrets about taking the show to television: “You actually got closer than you would if it had been staged live in the theatre,” he says. “You have the best possible seat in the house for a Bette Midler performance.”</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Rick Perlstein on Goldwater, Reagan, and Trump

<p><span>“Reaganland” is the new volume in Rick Perlstein’s long chronicle of the American conservative movement; the four books, which he began publishing in 2001, run some 3,000 pages in total. While the author is left of center politically, the series has been praised by William F. Buckley, Jr., and George Will, among others. </span><a href="https://www.newyorker.com/contributors/andrew-marantz"><span>Andrew Marantz</span></a><span><span> </span>finds that Perlstein uniquely captures the mood of the country and how intangible, emotional factors in the electorate influence political shifts. Perlstein tells Marantz that Trump is neither an aberration from traditional conservative politics nor a continuation but a throwback to an earlier, unruly time in the Republican Party, when its ideologically more disparate umbrella contained open racists, anti-Semities, and conspiracy theorists not so unlike QAnon. The Party became ever more disciplined as the Goldwater era moved into what Perlstein calls Reaganland. “Disciplining what got said, behind closed doors and in public,” he says, “was an enormous part of the political work of [Reagan’s] Administration.”</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Everyone Knew Who Shot Ahmaud Arbery. Why Did the Killers Walk Free?

<p><span>It has been six months since Ahmaud Arbery, a young Black man, was shot by three white men while he was out for a Sunday jog near his childhood home. The video of the killing, taken by one of the men who participated in it, could be said to have kindled the blaze that ignited after the deaths of Breonna Taylor and George Floyd. </span></p> <p><span>There was no mystery to be solved in Arbery’s killing. It happened in broad daylight, and the men who did it were on the scene when police arrived. But the killers walked free, and no one was arrested for seventy-four days—until after the video was made public and caused a scandal. What, exactly, were prosecutors thinking? </span><a href="https://www.newyorker.com/contributors/caroline-lester"><span>Caroline Lester</span></a><span> spoke with Arbery’s mother, a local reporter, lawyers, and a district attorney to understand what happened in those</span><span> seventy-four</span><span> days. His case, she finds, highlights a fundamental problem for criminal-justice reform: we may change the laws that govern policing, but those laws have to be vigorously enforced. And district attorneys may have little incentive to do so. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Will This Be Joe Biden’s F.D.R. Moment?

<p><span>Joe Biden has been playing it safe during the coronavirus pandemic, but Evan Osnos got the chance to sit down with the nominee in person. It was too hot to sit outside, but the campaign staff didn’t want an outsider in Biden’s home, so the interview took place in a small house on the property that Biden’s late mother stayed in. In a wide-ranging conversation, Biden compares his position—should he win—to that of Franklin Roosevelt: taking office during a disaster, he argues, he would have an opportunity to effect a hugely ambitious agenda, but driven by pragmatism rather than ideology. (He was not comparing himself to Roosevelt, he hastened to add.) While the country is ever more partisan, Biden describes his centrism and his propensity for off-the-cuff remarks as an advantage. “The good news is the bad news,” he told Osnos. “Everybody knows me, and you guys know me, the good and bad. . . . It’s kind of hard to pin a label on someone that’s inconsistent with who they are. To make me out to be a revolutionary, it’s awful hard to do. Conversely, it’s awful hard to make me out to be a right-wing, very conservative Democrat.” </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Trent Reznor and Atticus Ross on HBO’s “Watchmen”

<p><span> HBO’s “Watchmen” was nominated for twenty-six Emmy Awards—more than any oth</span><span>er show this year—including two for the music by Trent Reznor and Atticus Ross (who are also the members of the industrial-rock band Nine Inch Nails). The music negotiates the show’s superhero plot with its real and traumatic historical context: the Greenwood Massacre, in which mobs attacked the Black community of Tulsa in 1921 and killed as many as three hundred people. It “brings this very difficult history together with the sheer bad-ass fun of fantasy,” </span><a href="https://www.newyorker.com/contributors/vinson-cunningham"><span>Vinson Cunningham</span></a><span> says. “That tension shows up on every level of the show, and definitely in its wide-ranging score.” The music in “Watchmen” is “sometimes creepy, sometimes mournful, and sometimes outrageous—it’s not just a mood-setter; it’s like its own character.” Cunningham spoke with Reznor and Ross about how they achieved this effect, musically. “I knew we were not going to let the show down,” Ross said, “b</span><span>ecause it was clear that this one matters.” </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Sarah Paulson, the Star of Netflix’s “Ratched”

<p><span>The actor Sarah Paulson has appeared in “12 Years a Slave,” “The People v. O. J. Simpson,” and eight seasons of Ryan Murphy’s “American Horror Story.” Now she’s starring in a new Murphy production—the series “Ratched,” which premieres on Netflix next month. It’s a macabre, over-the-top fantasy describing the origin story of Nurse Ratched, the heartless, possibly not-quite-human villain of Ken Kesey’s novel “One Flew Over the Cuckoo’s Nest.” Personified by Louise Fletcher in the 1975 film, Nurse Ratched is considered one of the great modern antiheroes. “I do think any character you play, particularly the ones that, on the surface, seem difficult, angry, monstrous—a lot of people don’t like to investigate that kind of stuff,” Paulson told the staff writer Michael Schulman at the 2019 New Yorker Festival. “But, to me, I think, it’s sort of our job.”</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Samantha’s Journey into the Alt-Right, and Back

<p><span>Since 2016, </span><a href="https://www.newyorker.com/contributors/andrew-marantz"><span>Andrew Marantz</span></a><span> has been reporting on how the extremist right has harnessed the Internet and social media to gain a startling prominence in American politics. One day, he was contacted by a woman named Samantha, who was in the leadership of the white-nationalist group Identity Evropa. (She asked to be identified only by her first name.) “When I joined, I really thought that it was just going to be a pro-white community, where we could talk to each other about being who we are, and gain confidence, and build a community,” Samantha told him. “I went in because I was insecure, and it made me feel good about myself.” Samantha says she wasn’t a racist, but soon after joining the group she found herself rubbing shoulders with the neo-Nazi organizer Richard Spencer, at a party that culminated in a furious chant of “Sieg heil.” Marantz and the “Radio Hour” producer Rhiannon Corby dove into Samantha’s story to understand how and why a “normal” person abandoned her values, her friends, and her family for an ideology of racial segregation and eugenics—and then came back again. They found her to be a cautionary tale for a time when facts and truth are under daily attack. “I thought I knew it all,” she told them. “I think it's extremely na</span><span>ï</span><span>ve and foolish to think that you are impervious to it. No one is impervious to this.”</span></p> <p> </p> <p><span>Samantha’s story appears in Andrew Marantz’s book, “Antisocial: Online Extremists, Techno-Utopians, and the Hijacking of the American Conversation.” </span></p> <p><i><span>This episode originally aired on November 22, 2019.</span></i></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Isabel Wilkerson on America’s Caste System

<p><span>In this moment of historical reckoning, many Americans are being introduced to concepts like intersectionality, white fragility, and anti-racism. But Isabel Wilkerson would like to incorporate a little-discussed concept into our national conversation: caste. Wilkerson is a writer and historian who spent the past decade working on a book that examines the history of race in this county. During the Jim Crow era, </span><span>“every aspect of life was so tightly controlled and scripted and restricted,” she told David Remnick. “I realized that race was an insufficient term.” Plus, we’ll meet some of the volunteers and the former inmates who make up the Rikers Debate Project.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

The Documentary ICE Doesn’t Want You to See

<p><span>Immigrations and Customs Enforcement has been given a broad mandate to round up undocumented immigrants. The agency is infamously unwelcoming to journalists, but two filmmakers managed to get unprecedented access to its employees and detention facilities. Christina Clusiau and Shaul Schwarz discuss how they got this closeup look at the agency as it developed ever-harsher policies designed to deter immigrants. Schwarz tells </span><a href="https://www.newyorker.com/contributors/jonathan-blitzer"><span>Jonathan Blitzer</span></a><span>, who covers immigration for the magazine, that “if [ICE] can make life difficult enough, if [it] can send these messages . . . that this is the hell you’re going to get, then [they’ll] make these people leave.”  </span></p> <p> </p> <p><span>The documentary, “Immigration Nation,” is available on Netflix. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Isabel Wilkerson on America’s Caste System

<p><span>In this moment of historical reckoning, many Americans are being introduced to concepts like intersectionality, white fragility, and anti-racism. Isabel Wilkerson, the author of the best-selling book “The Warmth of Other Suns,” is introducing a little-discussed concept into our national conversation: caste. As she researched the Jim Crow system in the South, she realized that </span><span>“every aspect of life was so tightly controlled and scripted and restricted that race was an insufficient term to capture the depth and organized repression that people were living under.” She explains to David Remnick that “the only word that was sufficient was ‘caste.’ ” The United States, Wilkerson argues, is a rigid social hierarchy that depends on a psychological as well as a legal system of enforcement. Her</span><span> new book is “Caste: The Origins of Our Discontents,” which has already been hailed as a modern classic. She says that </span><span>“we need a new framework for understanding the divisions and how we got to where we are.” </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Jeffrey Toobin Explores Donald Trump’s “True Crimes and Misdemeanors”

<p><span>The Mueller Report documented enough crimes and scandals in Donald Trump’s Presidential campaign and in his Administration to sink the career of any President before him. But Trump called the whole thing a win. What’s more, he is now running for reëlection—something no impeached President has ever done before. How did that happen? And why? David Remnick discusses these questions with </span><i><span>The New Yorker’s</span></i> <a href="https://www.newyorker.com/contributors/jeffrey-toobin"><span>Jeffrey Toobin</span></a><span>, whose new book, “True Crimes and Misdemeanors,” is an account of the investigation and impeachment of Donald Trump.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Mayor Lori Lightfoot on Violence in Chicago, and William Finnegan on the Power of Police Unions

<p><span>Before she became the mayor of Chicago, last year, Lori Lightfoot spent nearly a decade working on police reform. Now Lightfoot is facing civil unrest over police brutality and criticism by the President for the homicide and shooting rates in her city. David Remnick spoke with Mayor Lightfoot about the state of the city, policing, and President Trump’s recent decision to send two hundred federal agents to help “drive down violent crime.” Plus, </span><i><span>The New Yorker’s</span></i><span> William Finnegan reports on what the repeal of an arcane law reveals about the conflict among police, protesters, and politicians.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Black Italians Fight to Be Italian

<p><span>In the United States, most of us take it for granted that every person born on American soil is granted citizenship; it’s been the law since 1868, with the passage of the Fourteenth Amendment. But birthright citizenship is more the exception than the rule globally. Not one country in Europe automatically gives citizenship to children born there. Ngofeen Mputubwele, a producer for the New Yorker Radio Hour, has been reporting on a group of Black Italians—children of African immigrants—who are working to change the citizenship laws of Italy, which they consider a system of racist exclusion. They are artists, intellectuals, and activists who use film, literature, music, and fashion to fight for the right to belong to the country in which they were born; Mputubwele compares their movement to “the start of the Harlem Renaissance.” Bellamy Ogak, a Black Italian, tells him that she was moved by the sight of white Italians carrying “Black Lives Matter” signs at protests following the killing of George Floyd but was angered that they seemed to overlook racism at home: </span><span>“</span><span>Why do Black American lives matter more than Black Italian lives?” she asks.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Emily Oster on Whether and How to Reopen Schools

<p><span>The decision about whether to reopen schools may determine children’s futures, the survival of teachers, and the economy’s ability to rebound. Emily Oster, an economist at Brown University, reviews what we do and don’t know about the dangers of in-person classes. How likely are children to transmit the coronavirus? Will teachers spread it to one another? Oster talks about the data with</span><span><span> </span></span><a href="https://www.newyorker.com/contributors/joshua-rothman">Joshua Rothman</a><span><span> </span>and opens up a knottier question about this upcoming school year: How do we measure the trade-off between the lives that will inevitably be lost if schools open against the long-term negative effects of learning loss if schools stay closed? What will a school do when, inevitably, somebody dies? “We’re going to have to accept that there isn’t actually a right choice,” she says.</span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

Podcast Extra: André Holland on Shakespeare’s “Richard II”

<p><span>This summer, the Public Theatre, in New York, is putting on Shakespeare’s history play “Richard II.” Because most theatre was cancelled, even outdoors, due to the pandemic, the Public partnered with WNYC to bring the show to the radio. The production stars André Holland as the weak, indecisive king who faces a rebellion by his cousin, Bolingbroke. Richard is not a “bad dude,” Holland says, but a man doing the best he can in a situation he cannot manage. The theatre critic </span><a href="https://www.newyorker.com/contributors/vinson-cunningham"><span>Vinson Cunningham</span></a><span> spoke with Holland about performing Shakespeare as a Black actor and his concerns about taking on the role of King Richard: What would a Black man playing the failed leader convey to an audience? Holland also explains why he thinks that Black actors are particularly suited to inhabiting the language of Shakespeare.  </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>

The Perils Prison Reform, and the Vision of a Visually Impaired Artist

<p><span>In the past few years, there has been a growing bipartisan demand to reduce the extraordinarily high rate of incarceration in the United States, on both moral and fiscal grounds. But some of the key reforms, according to some prison abolitionists, are actually expanding the “carceral web”—the means by which people are subjected to control by the corrections system. “Reform operates according to a logic of replacement,” the journalist Maya Schenwar tells </span><a href="https://www.newyorker.com/contributors/sarah-stillman"><span>Sarah Stillman</span></a><span>. Drug courts and electronic monitoring are widely popular reforms that, Schenwar argues, only funnel people back into physical prisons, and may cause addicts further harm. Stillman spoke with Schenwar and Victoria Law, the authors of “</span><span>Prison by Any Other Name: The Harmful Consequences of Popular Reforms.</span><span>” Plus, Rodney Evans discusses his documentary film “Vision Portraits,” which has been streaming on PBS. It examines the creative processes of a writer, a dancer, and a photographer who are—like the filmmaker—visually impaired. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>