The New Yorker Radio Hour

The 2016 Presidential primaries were a rebuke to moderates in both parties. Bernie Sanders, a sometime Democratic Socialist, built a grassroots movement that bitterly rejected the centrist Hillary Clinton. Donald Trump, whose conservative credentials were deeply suspect, defeated sixteen Republican stalwarts. As the 2018 midterms approach, both parties are wrestling with the question of whether to rise with the tide of extremist sentiment, or run moderates to regain the center. Andrew Hall, an assistant professor of political science at Stanford, studies the effect of extremist candidates on elections. He tells The New Yorker’s Amy Davidson Sorkin that we may be asking the wrong question. Plus, the Pulitzer Prize winner Steve Coll on how the repeated failures of American intelligence and policy led to the nation’s longest and most intractable war.

As a congressman from Montana, Ryan Zinke was considered a moderate—he resisted radical suggestions, for example, to turn over federal land to the states. But, as Secretary of the Interior, he is at the forefront of the Trump Administration’s push to rapidly roll back environmental regulations and expand mining, drilling, and commercial exploitation of all kinds. Zinke was instrumental in the recent decision to shrink Bears Ears National Monument, opening up enormous tracts of land to uranium mining. He has acted in seemingly petty ways, as well, including increasing litter by reintroducing the sale of plastic water bottles in national parks. Elizabeth Kolbert recently wrote about Zinke's tenure at the Interior Department. In assessing Zinke's and Trump's motives, she tells David Remnick, the most cynical interpretation is likely the right one. Plus, a short primer that will finally explain bitcoin (not); and a food editor investigates a new veggie burger that supposedly looks, feels, and tastes like beef.

Laura Kipnis is a professor at Northwestern University and a provocative feminist critic. Her book “Unwanted Advances: Sexual Paranoia Comes to Campus” states, “If this is feminism, it’s feminism hijacked by melodrama.” She has been accused of violating Title IX by creating a hostile environment for students to report harassment. Kipnis, who supports the movement, tells the staff writer Alexandra Schwartz that the grassroots power of public revelations is being hijacked by institutions in a power grab to control the lives of employees and students. The real feminist lesson of cases like Aziz Ansari’s much-discussed bad date, Kipnis thinks, is that that women as well as men need to reflect on how they conduct themselves in heterosexual relationships.

The novelist Chimamanda Ngozi Adichie has had commercial and critical success: Her best-seller “Americanah” won a National Book Critics Circle Award for fiction, and a speech she gave on feminism was sampled by Beyoncé. But Adichie is skeptical of fame, and not afraid to voice controversial opinions. At The New Yorker Festival in October, 2017, she spoke with David Remnick about how the left in this country seems “cannibalistic,” and how, as a Nigerian immigrant to America, she at first distanced herself from our country’s conception of blackness. America was complicated for Adichie: she appreciated the freedom from the social hierarchies back home, but she had imagined everything would be newer and shinier than it really was. Plus, the British folk musician Laura Marling tells John Seabrook about living in Los Angeles alongside the spirits of her musical idols, and performs her song “The Valley.”

Nathan Lane may be best known for supplying the voice of the fun-loving meerkat in “The Lion King,” but in recent years he’s turned his focus to more serious roles. Now he’s playing the villain, Roy Cohn, in a new production of Tony Kushner’s “Angels in America.” Lane sat down with Michael Schulman at The New Yorker Festival in October, 2017, to talk about the real-life Cohn. A conservative attorney who denied that he was gay to the end of his life, Cohn served as Joseph McCarthy’s chief counsel during the crusade against Communism, as an adviser to Richard Nixon, and as a mentor to the young Donald Trump. Lane went to great lengths to understand the contradictions of Cohn’s life. “It’s easy to find people who hated him,” Lane tells Schulman. “But there were people who loved Roy Cohn.” “Angels in America” opens on Broadway in February.

The Ku Klux Klan was originally focused on maintaining the old racial order in the postwar South, chiefly through the violent suppression of African-Americans. But, in the nineteen-twenties, the Klan was reborn as a nationwide movement, targeting not only African-Americans but Jews, Catholics, Muslims, Mexican-Americans, and Asian immigrants. In the jingoistic years following the First World War, the Klan made discrimination the new patriotism. The Bancroft Prize-winning historian Linda Gordon charts this rebirth in “The Second Coming of the KKK.” She writes that millions of people joined the Klan in the span of just a few years, among them mayors, congressmen, senators, and governors; three Presidents were members of the Klan at some point before taking the office. Gordon tells David Remnick that the lessons for our current political moment are sobering. The writer Andrew Marantz, who covers media and politics for The New Yorker, explains how today’s alt-right manipulates something called the Overton Window to bring fringe ideas into the mainstream. Plus, the staff writer Troy Patterson shares three recent picks with David Remnick.

David Attenborough’s films for the BBC—impeccably researched, ambitiously filmed, and executed with style and imagination—have set a high bar for nature documentaries in our time. Over sixty years, his films have taught generations of us about the extraordinary diversity of life on the planet. His latest project is a seven-part survey of the world’s oceans, called “Planet Earth: Blue Planet II,” which débuts this week on BBC America. The series uses every technological advance, including drone-mounted and submersible cameras, to bring us closer to nature’s extremities. Attenborough talks with David Remnick about breaking precedent to give the film an overtly environmental message; about his determination at age ninety-one to keep working; and about the only creatures he really can’t stand. Plus, a look at how the Pulitzer Prize-winning poet Mary Oliver finds spiritual meaning in the natural world.

A tougher stance on immigration is the signature position of the Trump Administration, and the President’s first year in office has been marked by sharply increased arrests of unauthorized immigrants. In this hour we explore immigration and deportation from the perspective of a Wisconsin dairy farm, a conservative Washington think tank, and the mother of a deportee, as well as a sanctuary church where a woman is hiding in plain sight from immigration enforcement.    

Tracee Ellis Ross, who plays Dr. Rainbow Johnson on ABC’s “Black-ish,” joins Doreen St. Félix for a conversation about television, race, and self-acceptance. “Black-ish” has a reputation for breaking boundaries and tackling political and racial questions rarely discussed in prime time. But Ellis has found room to push back on the show’s treatment of her character as the wife on a family sitcom. And  Jon Hamm won audiences over in “Mad Men” as Don Draper, the quintessential man’s man. “Navigating what the show became and navigating the success is the trickiest part of it,” he tells Susan Morrison. So he flexed his comedic muscles as often as possible, with roles in “Bridesmaids” as one of Kristen Wiig’s love interests (for which she wrote them a very long sex scene) and on “30 Rock” as Tina Fey’s too-handsome-for-real-life boyfriend. And his sensitive side is no put-on: as a young man, Hamm worked at a day-care center called Kids Depot, remembering that as a young child he had lacked male role models. “It felt nice to be that person I didn’t have in my life.”

Jerry Seinfeld talks with David Remnick about his Netflix special “Jerry Before Seinfeld,” which is part standup show, part memoir. They discuss his “coming out” to his parents as a funny person, the labor that goes into an effortless joke, how cursing undercuts comedic craft; why George Carlin in a suit and tie was just as good as George Carlin the hippie; and why he thinks we esteem actors and writers too highly. Seinfeld compares his work as a comedian to that of John McPhee, The New Yorker’s elder statesman of long-form reporting. “He makes things out of ordinary life moments and making you see them in a different way,” Seinfeld says. “When he does it, it’s an art, because it’s the goddam New Yorker. When I do it it’s just an airlines peanuts joke.”