The New Yorker Radio Hour

Joe Wright’s film “Cyrano,” nominated for an Academy Award for Best Costume Design, was based on Erica Schmidt’s 2018 stage musical of the same name. Peter Dinklage starred in both, as the unattractive but lovestruck swashbuckler of the 1897 play “Cyrano de Bergerac.” Dinklage spoke with Michael Schulman in 2019, and said that Cyrano’s predicament is not really about his famously giant schnoz; it is about “everyone’s capacity to not feel worthy of love.” Dinklage also spoke about the ending of “Game of Thrones,” which had taken place a few months earlier. Fans were still freaking out about Daenerys’s turn to brutality at the series’ end, and Dinklage had little sympathy. “Monsters are created. We vote them into office. . . . Maybe [fans] should have waited for the series finale before you get that tattoo, or name your golden retriever Daenerys. I can’t help you.”   This segment originally aired December 20, 2019.

Nicholas Britell has emerged as one of the most in-demand film composers working today, creating original music for projects that hew to no style or model. He wrote the infuriatingly catchy theme of HBO’s “Succession”; he is nominated for an Academy Award for the score of Adam McKay’s manic apocalypse comedy “Don’t Look Up”; he was previously nominated for his score for Barry Jenkins’s “Moonlight.” In 2017, Britell spoke with the New Yorker editor Henry Finder on the occasion of the release of “Battle of the Sexes,” about the 1973 tennis match between Billie Jean King and Bobby Riggs.    This segment originally aired September 22, 2017.

Alexandria Ocasio-Cortez is one of the most prominent progressives in Washington. Her political ascent began with her shocking 2018 defeat of a longtime incumbent in a New York district that includes parts of Queens and the Bronx. She is a strong advocate of the Green New Deal and Medicare for All. With her party’s razor-thin majorities now in peril, many of her priorities seem out of reach. Can the agenda she was elected to advance survive?   Ocasio-Cortez reflects on her time in Washington with David Remnick, painting a dysfunctional portrait of Congress. “Honestly, it is a shit show,” she says. “It’s scandalizing, every single day. What is surprising to me is how it never stops being scandalizing.” This conversation is part of The New Yorker’s first digital-only issue, a special collection of New Yorker Interviews.

Every few weeks, it seems, another example of so-called cancel culture is dominating the headlines and trending on social-media platforms. The refrain “you can’t say anything these days” has become a slogan of cultural politics, particularly on the right. And yet there’s a wide gulf of opinion on what the term “cancelling” means—and whether the phenomenon even exists. In this special episode, we examine the issue with Representative Alexandria Ocasio-Cortez, the YouTube video creator Lindsay Ellis, the comedy historian Kliph Nesteroff, and the writers Jay Caspian Kang and William Deresiewicz.

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

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

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

“They push buttons,” says Timothy Snyder, a professor of history at Yale. “What button of ours are they pushing here? What are they trying to get us to do?” Vladimir Putin is posturing toward a costly invasion of Ukraine, on the false pretext of protecting Russian-language speakers in the country. Why? In a wide-ranging conversation, Snyder talks with David Remnick about how to understand Russia’s aggression, the idea advanced by Putin that Ukraine historically and rightfully belongs to Russia, and the dictator’s far-reaching goal of destabilizing NATO. Snyder is the author of the Second World War history “Bloodlands,” as well as “The Road to Unfreedom” and “On Tyranny”—which warn of the dangers that imperil American democracy. Running an oligarchy in which corruption is universal, Putin “is basically stuck with spectacle, distractions—the old bread and circuses idea,” Snyder says, “but also is working from a situation where you want to bring other countries down to your level. . . . With that, you can understand their intervention in our elections, or the way they talk about us: they want to bring out the elements of us, both rhetorically and in reality, that are most like the way they run the country.” Putin’s governance of Russia and his foreign policy, in other words, are intricately entangled. “I tend to think [the threat of invasion] is about the Biden Administration, in a pretty fundamental way,” Snyder believes. “If your goal is to undermine NATO—let’s accept that that is their sincere goal—who do you want to be President? Trump.” The crisis, he says, “puts Biden in a very bad position. It’s very hard for Biden to look strong. . . . Insofar as there is a strategy here, it’s about dividing NATO members and putting pressure on the Biden Administration.”

As a nurse at the Irwin County Detention Center—a Georgia facility run by LaSalle Corrections, a private company operating an immigration-detention contract with ICE—Dawn Wooten became aware of some frightening violations, including numerous hysterectomies and other medical procedures performed without patient consent. When she asked questions, she was demoted and eventually pushed out. Wooten supplied critical information for two complaints about I.C.D.C., which were submitted to the Office of Inspector General at the Department of Homeland Security. The complaints were first reported in The Intercept in September, 2020, and then covered widely in the national press. Last May, in a victory for Wooten, the detained women who spoke up about their mistreatment, and the advocacy groups that had fought on their behalf, ICE ended its I.C.D.C. contract with LaSalle. Wooten’s own troubles, however, had just begun. Receiving death threats and kidnapping threats, she and her five children stayed under security in a series of hotels. Her whistle-blower-retaliation complaint with the federal government is still awaiting a finding, as the Office of the Inspector General has requested two extensions on its legally required deadlines. Meanwhile, Wooten found that hardly anyone would hire a nurse who had made front-page headlines: despite her twelve years of experience, she was rejected from more than a hundred jobs during a national nursing shortage. She couldn’t get hired at McDonald’s. Wooten, and the detained women who shared their stories at great risk, are still awaiting justice. For Sarah Stillman, who covers immigration for The New Yorker, Wooten’s case draws attention to the fact that low-wage whistle-blowers, in particular, can face almost insurmountable obstacles to coming forward to expose wrongdoing.

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