The New Yorker Radio Hour

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

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

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

On January 6th, 2021, “On the Media” reporter Micah Loewinger recorded the secret communications of the Oath Keepers on a walkie-talkie app called Zello. After reporting on the findings, Loewinger received a subpoena calling on him to testify in the first Oath Keepers criminal trial last year. In conversations with “On the Media” host Brooke Gladstone, “Death, Sex & Money” host Anna Sale, and Roger Parloff, a senior editor at Lawfare, Loewinger grapples with the consequences of his reporting, and explores what happens when a journalist is forced to testify in court. Plus, Loewinger looks at the nineteen-seventies Supreme Court case United States v. Caldwell to understand the legal precedents for journalists being called on to testify in federal investigations, the limits of First Amendment privileges for the press, and the sometimes tenuous relationship between journalists and the government.  This episode originally aired on “On the Media” on May 26, 2023. 

Over the past several years, as more democratic institutions and norms have come under attack, many journalists have raised the question of whether it is ethical to adhere to journalism’s traditional principles of non-bias, objectivity, and political neutrality. In May, A. G. Sulzberger, the publisher of the New York Times, staked out his position in the traditionalist camp in an essay for the Columbia Journalism Review. “The traditionalists in the ranks have long believed that their long-standing view speaks for itself. I became increasingly convinced that the argument doesn’t make itself,” he tells David Remnick. Sulzberger shies away from the term objectivity, instead describing the “posture of independence” as one that prizes “an open mind, a skeptical mind,” and a clear-eyed pursuit of truth––even if it leads to uncomfortable conclusions. Sulzberger, whose family has owned the paper since 1896, says he wants to push back on a culture of “certitude” in journalism. “In this hyper-politicized, hyper-polarized moment, is society benefiting from every single player getting deeper and deeper, and louder and louder, about declaring their personal allegiances and loyalties and preferences?” he asks. Plus, this week’s issue of The New Yorker features a new poem by Paul Tran, a young writer whose début collection was named one of the best books of 2022. The poem, “The Three Graces,” takes its name from a rock formation near Colorado Springs. “I was curious: what would these three rocks have to say about the nature of love,” Tran tells the producer Jeffrey Masters. Tran’s poetry explores their personal history—their family immigrated to the United States from Vietnam—as well as their trans identity. 

Evgeny Shtorn and Alexander Kondakov were living together in St. Petersburg when Vladimir Putin began his crackdown on the L.G.B.T.Q. movement in Russia, passing laws that prevented gay “propaganda.” Kondakov is a scholar of the movement, and Shtorn has studied the sociology of hate crimes against gay men. The couple also worked for an N.G.O. that received foreign funding, which made them appear particularly suspicious to Russian authorities. After Shtorn’s citizenship was rescinded, he became vulnerable to pressure from the F.S.B., the Russian security agency, which tried to make him an informant. Finally Shtorn decided to flee, seeking refuge as a stateless person in Ireland, where Masha Gessen spoke with him. Gessen says that Putin’s recent targeting of L.G.B.T. people is perfectly in line with his methods. “[We] make the perfect scapegoat, because we stand in for everything,” she says. “We stand in for the West. We stand in all the things that have changed in the last quarter century that make you uncomfortable. And, of course, no Russian thinks they’ve ever met a gay person in person—so that makes it really easy to create that image of ‘the villainous queer people.’ ” This segment originally aired June 10, 2019. Since that time, Shtorn received refugee status, and was reunited with Kondakov in Ireland. They married in 2023.   

Sam Altman, CEO of OpenAI, which created ChatGPT, says that AI is a powerful tool that will streamline human work and quicken the pace of scientific advancement  But ChatGPT has both enthralled and terrified us, and even some of AI’s pioneers are freaked out by it – by how quickly the technology has advanced.  David Remnick talks with Altman, and with computer scientist Yoshua Bengio, who won the prestigious Turing Award for his work in 2018, but recently signed an open letter calling for a moratorium on some AI research until regulation can be implemented. The stakes, Bengio says, are high. “I believe there is a non-negligible risk that this kind of technology, in the short term, could disrupt democracies.” 

The live-action remake of Disney’s classic “The Little Mermaid” is out this weekend. The performance of Halle Bailey as Princess Ariel has been widely praised, but some on the right lambasted the casting of a Black actress in the role as an example of—of course—wokeness on the part of Disney. The film’s director, Rob Marshall, dismisses the notion as quickly as he can. “It was never: ‘Let’s do a woke version of ‘Little Mermaid,’ ” he tells Naomi Fry. “It was: ‘Let’s just do the best version.’ ” Marshall took an unusual path toward directing: he began his career as a dancer on Broadway, moving to film only after becoming injured while performing in “Cats.” Since then, he has directed “Chicago,” “Memoirs of a Geisha,” and “Mary Poppins Returns.” For “The Little Mermaid,” he drew inspiration from the original Hans Christian Andersen text, which he says is a coming-of-age story about a young girl who breaks down barriers to understand herself and the world around her. “I just felt, wow, isn’t that the world we live in?,” he says. “I mean for me, the whole time I was doing this movie, it felt really like an antidote to the times we’re living in, the divisive world we live in.”

Earlier this month, E Jean Carroll won an unprecedented legal victory: in a civil suit, Donald Trump was found liable for sexual abuse against her in the mid-nineteen-nineties, and for defamation in later accusing her of a hoax. But no sooner was that decision announced than Trump reiterated his defamatory insults against her in a controversial CNN interview. Carroll has now filed an amended complaint, in a separate suit, based on Trump’s continued barrage. But can anything make him stop? “The one thing he understands is money,” Carroll’s lawyer, Roberta Kaplan, tells David Remnick. “At some point he’ll understand that every time he does it, it’s going to cost him  a few million dollars. And that may make a difference.” Carroll acknowledges that Trump will keep attacking her to get a laugh—“a lot of people don’t like women,” she says simply—but she is undaunted, telling Remnick, “I hate to be all positive about this, but I think we’ve made a difference, I really do.”  Plus, the staff writer Dexter Filkins on Ron DeSantis, who finally announced his Presidential candidacy this week. In 2022, Filkins profiled the Florida governor as his national ambitions were becoming clear. “He’s very good at staking out a position and pounding the table,” Filkins notes, “saying, ‘I’m not giving in to the liberals in the Northeast.’ ”

It’s the time of year when many people feel an overpowering urge to dig—to plant their back yard or vegetable garden, or even the flowerpots on the fire escape. “I just love the whole process. I love the muck of it,” Jill Lepore tells David Remnick. “You’re kind of entrapped in a completely different rhythm, and it’s all so entirely out of your control. … It’s a never-ending process of education.” Lepore, a professor of history as well as a staff writer, wrote recently on her passion for seed catalogues, and shares a couple of things she’s excited about growing this year.