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17 NIS

A Genocide Scholar Asks “What Went Wrong” in Israel

Omer Bartov is an Israeli professor of Holocaust and genocide studies at Brown University. He grew up in a Zionist home and served as an officer in the Israel Defense Forces, but he has long been concerned about Israel’s use of military power. In a new book called “Israel: What Went Wrong?,” Bartov argues that Zionism has morphed into an ideology of extremism that led to genocide in Gaza following the Hamas attacks of October 7th. “There is growing criticism of American support for these kinds of Israeli policies, both on the American left and on the American right,” Bartov tells David Remnick. Bartov believes that Israel requires “shock therapy” because “it has not still come to identify the limits of its own power, because those limits are in Washington, DC and it's there that those limits have to be set.” “For Israel, that would be good, because I think Israel needs to be liberated from that kind of dependence on American power. I think, for American society and for American Jewry, that’s a very bad thing because there is a rise of . . . antisemitism from the Tucker Carlsons of the world, who are a rising force right now.” Further reading: “Israel: What Went Wrong?,” by Omer Bartov “A Holocaust Scholar Meets with Israeli Reservists,” by Isaac Chotiner “How to Define Genocide,” by Isaac Chotiner New episodes of The New Yorker Radio Hour drop every Tuesday and Friday. Join host David Remnick as he discusses the latest in politics, news, and current events in conversation with political leaders, newsmakers, innovators, New Yorker staff writers, authors, actors, and musicians. New Yorker Radio Hour listeners, we want to hear from you. We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better. Take the survey here.

17 Nis

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39 dk.
10 NIS

Sam Altman’s Trust Issues at OpenAI

At the end of February, OpenAI’s C.E.O., Sam Altman, made headlines by swiftly cutting a deal with the Pentagon for his company to replace Anthropic, which had balked at the Trump Administration’s bid to use its A.I. technology to power autonomous weapons and aid in mass surveillance. Days earlier, Altman had publicly supported Anthropic’s position in the dispute. Altman’s rise to power and his founding of OpenAI were predicated on placing safety above other concerns in developing artificial general intelligence. Why did he change his stance on such a fundamental issue? The New Yorker writers Ronan Farrow and Andrew Marantz spoke with Altman multiple times and interviewed more than a hundred people for their investigation into the leader of one of the most powerful companies in the world, comparing Altman to J. Robert Oppenheimer. Although there is no smoking gun in Altman’s hand, the writers find that persistent allegations about his conduct underscore the danger of entrusting him to wield such vast power over the future. Further reading: "Sam Altman May Control Our Future—Can He Be Trusted?,” by Ronan Farrow and Andrew Marantz “The Dangerous Paradox of A.I. Abundance,” by John Cassidy “The A.I. Bubble Is Coming for Your Browser,” by Kyle Chayka New episodes of The New Yorker Radio Hour drop every Tuesday and Friday. Join host David Remnick as he discusses the latest in politics, news, and current events in conversation with political leaders, newsmakers, innovators, New Yorker staff writers, authors, actors, and musicians. New Yorker Radio Hour listeners, we want to hear from you. We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better. Take the survey here.

10 Nis

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50 dk.
4 GÜN ÖNCE

Patrick Radden Keefe on “London Falling,” His Book About a Teen-Ager’s Mysterious Life and Death

When Patrick Radden Keefe was living in London while shooting the TV adaptation of his book “Say Nothing,” he heard about a teen-ager who fell from a luxurious apartment tower in mysterious circumstances. As he looked into it, he learned that the boy, Zac Brettler, had assumed an alternate identity as the son of a Russian oligarch, and had connected with dangerous people—just as mysterious. His story in The New Yorker, “A Teen’s Fatal Plunge into the London Underworld,” became the basis of his new book “London Falling.” “It’s not crime, per se, that interests me,” Radden Keefe tells David Remnick, “but the intermingling of the licit and illicit worlds, and the ways in which people deviate from a kind of conventional morality by degrees—and then the stories that they tell themselves about doing that.” He shares recordings from Brettler’s parents of conversations that they had as they sought to uncover what had happened to their son. Further reading: “London Falling,” by Patrick Radden Keefe “A Teen’s Fatal Plunge Into the London Underworld,” by Patrick Radden Keefe New episodes of The New Yorker Radio Hour drop every Tuesday and Friday. Join host David Remnick as he discusses the latest in politics, news, and current events in conversation with political leaders, newsmakers, innovators, New Yorker staff writers, authors, actors, and musicians. New Yorker Radio Hour listeners, we want to hear from you. We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better. Take the survey here.

4 gün önce

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20 dk.
14 NIS

Anna Wintour as Vogue Icon

Anna Wintour graces the cover of Vogue’s May issue alongside her theatrical double: Meryl Streep in the role of Miranda Priestly, from “The Devil Wears Prada,” whose much-anticipated sequel comes out on May 1st. Wintour and David Remnick spoke last fall on the day that a sea change took place at Vogue: it was announced that Chloe Malle would take over the editorial direction of the American edition of the publication. They discussed her storied career; her decision to wear Prada to the premiére of “The Devil Wears Prada”; and how Remnick might up his fashion game: “Forgive me, David, but how boring would it be if everybody was just wearing a dark suit and a white shirt all the time?” This segment originally aired on September 5, 2025. New episodes of The New Yorker Radio Hour drop every Tuesday and Friday. Join host David Remnick as he discusses the latest in politics, news, and current events in conversation with political leaders, newsmakers, innovators, New Yorker staff writers, authors, actors, and musicians. New Yorker Radio Hour listeners, we want to hear from you. We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better. Take the survey here.

14 Nis

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39 dk.
1 NIS

Valeria Luiselli Reads Julio Cortázar

Valeria Luiselli joins Deborah Treisman to discuss “The Night Face Up,” by Julio Cortázar, which was published in The New Yorker in 1967. Luiselli is the author of five books, including the nonfiction book “Tell Me How It Ends: An Essay in 40 Questions” and the novels “The Story of My Teeth” and “Lost Children Archive,” which won the 2020 Andrew Carnegie Medal for Excellence in Fiction. Her new novel, “Beginning Middle End,” will be published in July. Learn about your ad choices: dovetail.prx.org/ad-choices

1 Nis

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1 sa. 12 dk.
1 MAR

Daniyal Mueenuddin Reads Peter Taylor

Daniyal Mueenuddin joins Deborah Treisman to discuss “Two Pilgrims,” by Peter Taylor, which was published in The New Yorker in 1963. Mueenuddin is the author of the novel “This Is Where the Serpent Lives,” which was published in January, and the story collection “In Other Rooms, Other Wonders,” which was published in 2009 and won both the Story Prize and the Commonwealth Writers’ Prize. Learn about your ad choices: dovetail.prx.org/ad-choices

1 Mar

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1 sa. 3 dk.
1 ŞUB

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 Şub

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1 sa. 23 dk.
16 NIS

“Beef,” “The Drama,” and the New Marriage Plot

In 2019, marriage rates in the United States hit their lowest point in a hundred and forty years. They still haven’t rebounded. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz consider how recent cultural offerings mirror this increasing dissatisfaction with matrimony. They discuss the new season of the Netflix anthology show “Beef,” which centers on two couples locked in a feud that gradually exposes the cracks in each relationship, and the A24 film “The Drama,” about a wedding that goes off the rails in spectacular fashion. They also consider real-life examples, including Lindy West’s recent memoir, “Adult Braces,” which has sparked a flurry of discourse about polyamory and open marriages. As such alternative ways of organizing our love lives enter the mainstream, the narrative around one of our oldest institutions is shifting, too. “I think we’re in a place where we’re trying to make marriage seem more like a positive choice, rather than an obvious obligation,” Schwartz says. “It’s a fascinating fiction that those who get married subscribe to, hoping that the fiction becomes true.” Read, watch, and listen with the critics: “Beef” (2023-)“The White Lotus” (2021-)“The Drama” (2026)“Strangers,” by Belle Burden“A Hymn to Life: Shame Has to Change Sides,” by Gisèle Pelicot“Madame Bovary,” by Gustave Flaubert“Parallel Lives,” by Phyllis Rose“Adult Braces,” by Lindy West 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

16 Nis

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49 dk.
1 GÜN ÖNCE

Why Senator Rand Paul Voted to Limit Donald Trump’s War Powers

One of Donald Trump’s few critics within his party is the libertarian-leaning senator Rand Paul, from Kentucky. Paul was recently the sole Republican to vote in favor of restricting the President’s power to make war in Iran. He also opposed Trump on tariff policy, and on his budget bill in 2025. “He loves voting ‘NO’ on everything,” the President fumed. Paul ran for President in 2016, and is considering another run for the White House in 2028. He talks with David Remnick about how he would differentiate himself from J. D. Vance and Marco Rubio; about his opposition to the attack on Iran; and about Pete Hegseth invoking Christianity in the war. “People quoting the Old Testament about smiting the enemy” concerns Paul greatly: “If this becomes Christians versus Muslims, I don’t see a quick end to a war.” Further reading: “The End of Limits on a President’s Wars,” by Ruth Marcus “Why Rand Paul Ran Aground,” by Kelefa Sanneh New episodes of The New Yorker Radio Hour drop every Tuesday and Friday. Join host David Remnick as he discusses the latest in politics, news, and current events in conversation with political leaders, newsmakers, innovators, New Yorker staff writers, authors, actors, and musicians. New Yorker Radio Hour listeners, we want to hear from you. We have a few questions about the show and how you listen to it. The survey takes about twenty minutes, and your feedback will help us make our podcast better. Take the survey here.

1 gün önce

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30 dk.
1 OCA

Bryan Washington Reads Yiyun Li

Bryan Washington joins Deborah Treisman to read “A Small Flame,” by Yiyun Li, which was published in The New Yorker in 2017. Washington, a winner of the New York Public Library’s Young Lions Fiction Award, is the author of the story collection “Lot” and the novels “Memorial,” “Family Meal,” and “Palaver,” which was a finalist for the National Book Award in 2025. Learn about your ad choices: dovetail.prx.org/ad-choices

1 Oca

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1 sa. 17 dk.

Politics, culture, fiction, and more from The New Yorker.