The New Yorker Radio Hour

Willem Dafoe has one of the most distinctive faces and most distinctive voices in movies, deployed to great effect in blockbuster genre movies as well as smaller indie darlings; he’s played everyone from Jesus Christ to the Green Goblin. His most recent project is the highly anticipated “Nosferatu,” which opens Christmas Day. Robert Eggers’s film is a remake, more than a century later, of one of the oldest existing vampire movies, and Dafoe plays a vampire-hunting professor.  After “Twilight” and hundreds of other vampire stories, “Nosferatu” aims “to make him scary again,” Dafoe told The New Yorker Radio Hour’s Adam Howard. It’s his third collaboration with the director, after “The Witch” and “The Lighthouse.” “When you do a Robert Eggers movie,” he says, “there’s a wealth of detail and it’s rooted in history. … So you enter it and the world works on you. And I love that.”

James Taylor’s songs are so familiar that they seem to have always existed. Onstage at the New Yorker Festival, in 2010, Taylor peeled back some of his influences—the Beatles, Bach, show tunes, and Antônio Carlos Jobim—and played a few of his hits, even giving the staff writer Adam Gopnik a quick lesson.

This segment originally aired on July 7, 2017.

Annie Clark, known as St. Vincent, launched her career as a guitar virtuoso—a real shredder—in indie rock, playing alongside artists like Sufjan Stevens. As a bandleader, she’s moved away from the explosive solos, telling David Remnick, “There’s a certain amount of guitar playing that is about pride, that isn’t about the song. . . . I’m not that interested in guitar being a means of poorly covered-up pride.” Her songs are dense, challenging, and not always easy, but catchy and seductive. Remnick caught up with Clark before the launch of her new album, “MASSEDUCTION.”  They talked about the clarity of purpose she needed in order to “clear a path” to write the “glamorously sad songs” she’s become known for.

This segment originally aired on October 13, 2017.

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.”  

Costello spoke from outside his home in Vancouver, B.C., where a foghorn is audible in the background.

This segment originally aired on October 16, 2020.

The American musical is in a state of flux. Today’s Broadway offerings are mostly jukebox musicals and blatant I.P. grabs; original ideas are few and far between. Meanwhile, one of the biggest films of the season is Jon M. Chu’s earnest (and lengthy) adaptation of “Wicked,” the origin story of the Wicked Witch of the West that first premièred on the Great White Way nearly twenty years ago—and has been a smash hit ever since. On this episode, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss why “Wicked” is resonating with audiences in 2024. They consider it alongside other recent movie musicals, such as “Emilia Pérez,” which centers on the transgender leader of a Mexican cartel, and Todd Phillips’s follow-up to “Joker,” the confounding “Joker: Folie à Deux.” Then they step back to trace the evolution of the musical, from the first shows to marry song and story in the nineteen-twenties to the seventies-era innovations of figures like Stephen Sondheim. Amid the massive commercial, technological, and aesthetic shifts of the last century, how has the form changed, and why has it endured? “People who don’t like musicals will often criticize their artificiality,” Schwartz says. “Some things in life are so heightened . . . yet they’re part of the real. Why not put them to music and have singing be part of it?”

This episode originally aired on Critics at Large, December 12, 2024.

Power dynamics in the Middle East shifted dramatically this year. In Lebanon, Israel dealt a severe blow toHezbollah, and another crucial ally of Iran—Bashar al-Assad’s regime in Syria—was toppled by insurgents. But the historian Rashid Khalidi is skeptical that these changes will set back the Palestinian cause, as it relates to Israel. “This idea that the Palestinians are bereft of allies assumes that they had people who were doing things for their interest,” Khalidi tells David Remnick, “which I don’t think was true.” The limited responses to the war in Gaza by Iran and Hezbollah, Khalidi believes, clearly demonstrate that Iran’s so-called Axis of Resistance “was designed by Iran to protect the Iranian regime. . . . It wasn’t designed to protect Palestine.” Khalidi, a professor emeritus at Columbia University, is the author of a number of books on Palestinian history; among them, “The Hundred Years’ War on Palestine” has been particularly influential. The book helped bring the term “settler colonialism” into common parlance, at least on the left, to describe Israel’s relationship to historic Palestine. Sometimes invoked as a term of opprobrium, “settler colonialism” is strongly disputed by supporters of Israel. Khalidi asserts that the description is historically specific and accurate. The early Zionists, he says, understood their effort as colonization. “That’s not some antisemitic slur,” he says. “That’s the description they gave themselves.”The concept of settler colonialism has been applied, on the political left, to describe Israel’s founding, and to its settlement of the Palestinian-occupied territories. This usage has been disputed by supporters of Israel and by thinkers including Adam Kirsch, an editor at the Wall Street Journal, who has also written about philosophy for The New Yorker. “Settler colonialism is . . . a zero-sum way of looking at the conflict,” Kirsch tells David Remnick. “In the classic examples, it involves the destruction of one people by another and their replacement over a large territory, really a continent-wide territory. That’s not at all the history of Israel and Palestine.” Kirsch made his case in a recent book, “On Settler Colonialism: Ideology, Violence, and Justice.”

“Gypsy,” a work by Stephen Sondheim, Jule Styne, and Arthur Laurents, is often called the greatest of American musicals; a new production on Broadway is a noteworthy event, especially when a star like Audra McDonald is cast in the lead role of Rose. McDonald has won six Tonys for her acting, in both plays and musicals. In the repertoire of musicals, race in casting is still very much an issue, and one columnist criticized her portrayal of Rose because of her race. “I have dealt with this my entire career,” McDonald tells Michael Schulman, recalling that in her breakout performance, in “Carousel,” some audiences “were upset with me that I was playing Carrie, saying, ‘She wouldn’t have been Black.’ There’s a man who comes down from heaven with a star in his hand!” In a wide-ranging interview onstage at The New Yorker Festival, McDonald discusses how when she was a child theatre was initially intended to be a type of therapy for her, and the roles her parents wouldn’t let her take. “Gypsy” is currently in previews on Broadway. 

Immigration has been the cornerstone of Donald Trump’s political career, and in his second successful Presidential campaign he promised to execute the largest deportation in history. Stephen Miller, Trump’s key advisor on hard-line immigration policy, said that the incoming Administration would “unleash the vast arsenal of federal powers to implement the most spectacular migration crackdown,” possibly involving the use of the military. “I do think they’re going to strain the outer limits of the law on that,” the staff writer Jonathan Blitzer tells David Remnick. “We’re entering unprecedented territory.” Blitzer unpacks some of the anti-immigrant rhetoric, and explains measures that the new Administration is likely to take. “I.C.E. has a policy that discourages arrests at schools, hospitals, places of worship, courts,” he says. That policy can change and, he believes, will. “You’re going to see arrest operations in very scary and upsetting places.” The aim, he thinks, will be “to create a sense of terror. That is going to be the modus operandi of the Administration.” Blitzer is the author of “Everyone Who Is Gone Is Here,” a definitive account of the immigration crisis.

If “Wicked, Part I” and “Gladiator II” are not getting you into the theatre this weekend, Justin Chang, The New Yorker’s film critic, offers three other films coming out this holiday season which are “among the most thrilling that I've seen this year.” He recommends “Nickel Boys,” based on the Pulitzer Prize-winning novel by Colson Whitehead and directed by RaMell Ross; “The Brutalist,” starring Adrian Brody; and “Hard Truths,” directed by Mike Leigh. These are heavy subjects—not traditional holiday fare—but “I returned to the words of Roger Ebert,” Chang tells David Remnick. “No good movie is depressing. All bad movies are depressing.” 

“The Thanksgiving Play” is a play about the making of a play. Four performers struggle to devise a Thanksgiving performance that’s respectful of Native peoples, historically accurate (while not too grim for white audiences), and also inclusive to the actors themselves. A train wreck ensues. “First it’s fun. . . . You get to have a good time in the theatre. I would say that’s the sugar, and then there’s the medicine,” the playwright Larissa FastHorse tells the staff writer Vinson Cunningham. “The satire is the medicine, and you have to keep taking it.” FastHorse was born into the Sicangu Lakota Nation, and was adopted as a child into a white family. She is the first Native American woman to have a play produced on Broadway. “When I was younger, it was very painful to be separated from a lot of things that I felt like I couldn’t partake in because I wasn’t raised on the reservation or had been away from my Lakota family so long,” she says. “But now I really recognize it as my superpower that I can take Lakota culture . . . and contemporary Indigenous experiences and translate them for white audiences, which unfortunately are still the majority of audiences in American theatre.”
This segment originally aired on April 14, 2023. 

Plus, earlier this year, the author and essayist Ayelet Waldman wrote an essay for The New Yorker about taking up a new hobby. Trying to cope with intensely stressful news, Waldman dove head first into teaching herself how to quilt. “I would get up in the morning, I would go to the sewing machine. I would quilt all day and then I’d go to sleep. It wasn’t like I was checking out; I was still very much involved and invested in what was going on,” she told the producer Jeffrey Masters. “But somehow I could tolerate it while I was using my hands, and I decided I want to know how and why.” Waldman talked with neuroscientists about the reason that certain brain activities seem to relax us. And to her surprise, it wasn’t hard to find hours each day, in the life of a busy writer, to pursue a new vocation. “Honestly,” she admits, “I was literally spending that time on the Internet.”