The New Yorker

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Canal • 7 programes

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Bimestral

FA 1 DIA

How the Epstein Files Are Forcing a Reckoning with Power

The New Yorker staff writer Joshua Rothman joins Tyler Foggatt to discuss the political and cultural fallout from the release of millions of documents from the criminal investigation into Jeffrey Epstein. They talk about how years of institutional failures and scandals involving élites have shaped the way the material is being interpreted, why the sheer volume of information is raising more questions than answers, and how the fragmented and often chaotic flow of documents has left many Americans trying to make sense of the story for themselves. They also explore what the reaction to the files reveals about a growing belief that the powerful operate with relative impunity—and about the deepening cynicism toward institutions and powerful élites. This week’s reading: “Are We Living in the Age of Epstein?,” by Joshua Rothman “Donald Trump’s State of the Union Was Long and Wrong,” by Susan B. Glasser “James Talarico Puts His Faith in Texas Voters,” by Tad Friend “Donald Trump’s Pantomime United Nations,” by Ishaan Tharoor “The Supreme Court’s Complicated Takedown of Trump’s Tariffs,” by Amy Davidson Sorkin The Political Scene draws on the reporting and analysis found in The New Yorker for lively conversations about the big questions in American politics. Join the magazine’s writers and editors as they put into context the latest news—about elections, the economy, the White House, the Supreme Court, and much more. New episodes are available three times a week. Tune in to The Political Scene wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices

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37 min
FA 6 DIES

The MAGA Agenda Is Sinking in Popularity. What Might Donald Trump Do?

The Washington Roundtable discusses the upcoming State of the Union address and the public’s shift against Donald Trump on two of his signature issues: the economy and immigration. What pitch might Trump make for himself and the Republican Party heading into the midterms? “On the economy, he’s in the same fix Biden was in,” the staff writer Jane Mayer says. “He's trying to yell at people and tell them, ‘You are better off than you think you are,’ and that, we know, doesn't work.” Plus, the group examines what the retirement of Republican Marjorie Taylor Greene from Congress and what the Democratic Governor Gavin Newsom’s opposition to a wealth tax in California can tell us about ideological fissures within both parties. This week’s reading: “The E.P.A. Rescinds a Landmark Finding,” by Bill McKibben “The Chaos of an ICE Detention,” by Jordan Salama “Presidents’ Days: From Obama to Trump,” by David Remnick “Trump Is Still Deporting People Wherever He Wants,” by Isaac Chotiner “The Jeffrey Epstein Files Are Peter Mandelson’s Final Disgrace,” by John Cassidy “Zohran Mamdani, the Everywhere Mayor,” by Molly Fischer The Political Scene draws on the reporting and analysis found in The New Yorker for lively conversations about the big questions in American politics. Join the magazine’s writers and editors as they put into context the latest news—about elections, the economy, the White House, the Supreme Court, and much more. New episodes are available three times a week. Tune in to The Political Scene wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices

fa 6 dies

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37 min
FA 5 DIES

Mary Gaitskill Reads “Something Familiar”

Mary Gaitskill reads her story “Something Familiar,” from the March 2, 2026, issue of the magazine. Gaitskill is the author of eight books of fiction, including “Veronica,” which was a finalist for a National Book Award in 2005, and the novella “This Is Pleasure.” Her most recent book is the essay collection “Oppositions.” Learn about your ad choices: dovetail.prx.org/ad-choices

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31 min
FA 4 DIES

How Tucker Carlson Became the Prophet of MAGA

Tucker Carlson has long been a standard-bearer for far-right views, such as the racist conspiracy theory known as the “great replacement.” He recently did a chatty interview with the white supremacist Nick Fuentes, an admirer of Hitler. And yet, Carlson started out as a respected, well-connected, albeit contrarian, political journalist. Jason Zengerle, who recently joined The New Yorker as a staff writer, talks with David Remnick about his new book, “Hated by All the Right People: Tucker Carlson and the Unraveling of the Conservative Mind.” They trace how Carlson’s sense of personal resentment toward the establishment grew; how launching his own website radicalized his politics in the years before MAGA; and his political ambitions as a potential heir to Donald Trump. “I think, if Tucker Carlson concludes that J. D. Vance can’t get elected President, maybe he has to do it himself,” Zengerle says. “So much of politics now is just being a media figure and being an entertainer. And Tucker does those things very well. . . . I think our politics are at a place where that really doesn’t seem as outrageous as it would have even just a couple years ago.” This segment originally aired on January 23, 2025. The Political Scene draws on the reporting and analysis found in The New Yorker for lively conversations about the big questions in American politics. Join the magazine’s writers and editors as they put into context the latest news—about elections, the economy, the White House, the Supreme Court, and much more. New episodes are available three times a week. Tune in to The Political Scene wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices

fa 4 dies

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27 min
19 DE FEBR.

The Truth of Toni Morrison

Toni Morrison was many things in her lifetime—Nobel laureate, renowned author, Princeton professor, and generous mentor to young writers. Her appeal translated seamlessly to the internet, where old interview clips still bubble up regularly on social media, reminding us of her sharp wit and commanding presence. But, as Namwali Serpell argues in a new book of essays, “On Morrison,” this undeniable star persona risks eclipsing the genius—and complexity—of the eleven novels she wrote. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz dive back into these works to rediscover the writer as she was on the page. The hosts discuss Morrison’s début novel, “The Bluest Eye”; “Beloved,” which is widely regarded as her masterpiece; and “Jazz,” the experimental 1992 novel believed to be her personal favorite. Throughout her career, she insisted on writing flawed, dynamic characters rather than paragons of virtue. “The Morrison project is to put Black life, and particularly the lives of Black women, at the very center of literature—but to do it in a way that’s true to character and to human experience,” Schwartz says. “The people she’s writing about are damaged, are greedy, are jealous, are sad . . . and also are generous, and loving, and hurt and trying to heal.” Read, watch, and listen with the critics: “On Morrison,” by Namwali Serpell“Toni Morrison, the Teacher,” by Vinson Cunningham (The New Yorker)“The Bluest Eye,” by Toni Morrison“Song of Solomon,” by Toni Morrison“Toni Morrison and the Ghosts in the House,” by Hilton Als (The New Yorker)“Jazz,” by Toni Morrison“Beloved,” by Toni Morrison“Sula,” by Toni Morrison“Black Writers in Praise of Toni Morrison” (The New York Times)“The Blue Period: Black Writing in the Early Cold War,” by Jesse McCarthyMonuments at MOCA and the Brick“Language as Liberation,” by Toni Morrison New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture. Learn about your ad choices: dovetail.prx.org/ad-choices

19 de febr.

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52 min
FA 1 DIA

Critics at Large Live: “Wuthering Heights” and Its Afterlives

When Emily Brontë published “Wuthering Heights,” in 1847, critics were baffled, alarmed, and mostly unimpressed. James Lorimer, writing in the North British Review, promised that the novel would “never be generally read.” Nearly two centuries later, it’s regarded as one of the great works of English literature. In a live taping of Critics at Large at the 92nd Street Y, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss the staying power of the original text and the countless adaptations it’s inspired, from the 1939 film featuring Laurence Olivier to Andrea Arnold’s 2011 version. The most recent attempt comes from the director Emerald Fennell, whose new “Wuthering Heights,” starring Margot Robbie and Jacob Elordi, reads as a romantic fever dream. The movie has been polarizing in part for the way it excises some of the weirder and wilder aspects of its source material. But what’s discarded—or emphasized—can also be revealing. “It’s an audacious proposition to adapt a great novel … I don’t think it needs to be faithful, necessarily,” Fry says. “The adaptation itself becomes a portrait of the time in which it’s made.” Read, watch, and listen with the critics: “Wuthering Heights,” by Emily BrontëKate Bush’s “Wuthering Heights”Emerald Fennell’s “Wuthering Heights” (2026)“Emerald Fennell’s ‘Wuthering Heights’ Never Plumbs the Depths,” by Justin Chang (The New Yorker)“Barbie” (2023)“Saltburn” (2023)“Promising Young Woman” (2020)“Jane Eyre,” by Charlotte Brontë“The Communist Manifesto,” by Friedrich Engels and Karl Marx (1848)Peter Kosminsky’s “Wuthering Heights” (1992)William Wyler’s “Wuthering Heights” (1939)Andrea Arnold’s “Wuthering Heights” (2011)“All the King’s Men,” by Robert Penn Warren“I Love L.A.” (2025–) New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture. Learn about your ad choices: dovetail.prx.org/ad-choices

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49 min
1 DE FEBR.

Tessa Hadley Reads John McGahern

Tessa Hadley joins Deborah Treisman to read “Gold Watch,” by John McGahern, which was published in The New Yorker in 1980. Hadley has published thirteen books of fiction, including the story collections “Bad Dreams” and “After the Funeral,” and the novella “The Party.” She won a Windham-Campbell Prize for fiction in 2016. Learn about your ad choices: dovetail.prx.org/ad-choices

1 de febr.

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1 h 23 min
12 DE FEBR.

Charli XCX Misses the Moment

Once the fervor around Charli XCX’s 2024 album “brat” had cooled, the singer was approached to make a documentary about the tour—a practice that’s been embraced by the likes of Taylor Swift and Beyoncé. But Charli, who has built her brand in opposition to mainstream expectations, instead released “The Moment,” a tongue-in-cheek satire about the pressures stars face to milk career highs like “brat summer” for all they’re worth. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz consider “The Moment” alongside both the sanitized documentaries it mocks and other artists’ attempts to subvert the form. Many of these projects promise genuine insight into their subjects, but what they actually show is the increasingly delicate balancing act of “authentic” celebrity. “It is really hard to both reveal and conceal at the same time,” Fry says. “To invite the fan in—but not in a way that feels unsafe, or that could get you cancelled, or could make you sell less, or could make you unloved.” See Critics at Large live: the hosts will be discussing “Wuthering Heights” onstage at the 92nd Street Y on February 19th. Both in-person and streaming tickets are available. Buy now » Read, watch, and listen with the critics: Charli XCX’s “brat”“The Moment” (2026)“Homecoming: A Film by Beyoncé” (2019)“Gaga: Five Foot Two” (2017)“A Hard Day’s Night” (1964)“Spice World” (1997)“Taylor Swift: The End of an Era” (2025)“Sean Combs: The Reckoning” (2025)“Renaissance: A Film by Beyoncé” (2023)“Gimme Shelter” (1970)“Madonna: Truth or Dare” (1991)“I’m Still Here” (2010) New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture. Learn about your ad choices: dovetail.prx.org/ad-choices

12 de febr.

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46 min
TEMPORADA 6, EPISODI 1

Blood Relatives, Episode 1

On August 7, 1985, five family members were shot dead in their English country manor, Whitehouse Farm. It looked like an open-and-shut case. But the New Yorker staff writer Heidi Blake finds that almost nothing about this story is as it seems. New Yorker subscribers get early, ad-free access to “Blood Relatives.” In Apple Podcasts, tap the link at the top of the feed to subscribe or link an existing subscription. Or visit newyorker.com/dark to subscribe and listen in the New Yorker app. In the Dark has merch! Buy specially designed hats, T-shirts, and totes for yourself or a loved one at store.newyorker.com. Learn about your ad choices: dovetail.prx.org/ad-choices

T6, E1

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45 min
16 DE FEBR.

What Donald Trump and “Everyone” Knew About Jeffrey Epstein

In January, the Justice Department released over three million documents, including many redacted e-mails, related to Jeffrey Epstein. “Should we share the Julie Brown text with Alan [Dershowitz],” Epstein wrote in one note to a lawyer. “She is going to start trouble. Asking for victims etc.” Brown’s reporting on Epstein for the Miami Herald, and her revelations about the federal plea deal he received, had an enormous impact on public perception of Epstein and his ties to Trump. Brown joins David Remnick to discuss the latest tranche of redacted e-mails, which show, as she reported, that Trump knew about his friend’s crimes far earlier than he has admitted. Brown and Remnick also talk about Epstein’s relationship with Commerce Secretary Howard Lutnick, and why she does not believe that Epstein died by suicide. The Political Scene draws on the reporting and analysis found in The New Yorker for lively conversations about the big questions in American politics. Join the magazine’s writers and editors as they put into context the latest news—about elections, the economy, the White House, the Supreme Court, and much more. New episodes are available three times a week. Tune in to The Political Scene wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices

16 de febr.

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35 min

Critics at Large is a weekly culture podcast from The New Yorker. Every Thursday, the staff writers Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss current obsessions, classic texts they’re revisiting with fresh eyes, and trends that are emerging across books, television, film, and more. The show runs the gamut of the arts and pop culture, with lively, surprising conversations about everything from Salman Rushdie to “The Real Housewives.” Through rigorous analysis and behind-the-scenes insights into The New Yorker’s reporting, the magazine’s critics help listeners make sense of our moment—and how we got here. See Critics at Large live at 92NY on February 19: https://www.92ny.org/event/vinson-cunningham-naomi-fry-and-alexandra-schwartz

4,8 (5)

SOCIETAT I CULTURA
In the Dark, hosted by Madeleine Baran, is an award-winning investigative-journalism podcast that started in 2016. Its first season looked at the mysterious abduction of Jacob Wetterling in rural Minnesota and the lack of accountability that sheriffs face when they fail to solve cases. Season 2 examined the case of Curtis Flowers, who was tried six times for the same crime. In 2020, In the Dark released a special report on the coronavirus pandemic in the Mississippi Delta. In 2023, In the Dark joined The New Yorker and in 2024, it released “The Runaway Princesses,” a four-part series that asks why the women in Dubai’s royal family keep trying to run away. Season 3, released in 2024, asked why no one was punished for the killings of twenty-five civilians in Haditha, Iraq. In the Dark won the Pulitzer Prize for audio for Season 3. The podcast is a three-time Peabody Award winner and, in 2019, became the first podcast to win a George Polk Award, one of the top honors in journalism. The program has also received an Alfred I. duPont-Columbia University Award and a Robert F. Kennedy Journalism Award. New Yorker subscribers get early, ad-free access. In Apple Podcasts, tap the link at the top of the feed to subscribe or link an existing subscription. Or visit newyorker.com/dark to subscribe and listen in the New Yorker app. If you have comments or story tips, please send them to inthedark@newyorker.com.

4,7 (35)

CRIMS REALS
A monthly reading and conversation with the New Yorker fiction editor Deborah Treisman.

4,9 (24)

LLIBRES
Join The New Yorker’s writers and editors for reporting, insight, and analysis of the most pressing political issues of our time. On Mondays, David Remnick, the editor of The New Yorker, presents conversations and feature stories about current events. On Wednesdays, the senior editor Tyler Foggatt goes deep on a consequential political story via far-reaching interviews with staff writers and outside experts. And, on Fridays, the staff writers Susan B. Glasser, Jane Mayer, and Evan Osnos discuss the latest developments in Washington and beyond, offering an encompassing understanding of this moment in American politics.

4,7 (15)

POLÍTICA
New Yorker fiction writers read their stories.

4,0 (9)

ARTS
Readings and conversation with The New Yorker's poetry editor, Kevin Young.

4,7 (6)

LLIBRES