For The New Yorker’s series Takes, Carrie Brownstein—the co-creator of Sleater-Kinney and “Portlandia”—writes about an iconic rock-and-roll image. In the summer of 2003, the musician Chan Marshall, better known as Cat Power, was transitioning from an indie darling to a major rock artist, and the staff writer Hilton Als wrote a Profile of her in The New Yorker. Facing his piece was a full-page portrait of Marshall by the celebrated photographer Richard Avedon that puts her in the lineage of rock rebels of generations past. With a long ash dangling from her cigarette, a Bob Dylan T-shirt, and her jeans half unzipped, Cat Power “maybe doesn't give a shit about being in The New Yorker,” Brownstein thinks, “which I can't say is usually the vibe.” Avedon’s image reminds Brownstein “to keep remembering … to keep going back to that place that feels sacred and special and uncynical.” 

Carrie Brownstein’s Take on Richard Avedon’s portrait of Cat Power appeared in the April 20, 2025, issue. 

Plus, audiences have been bemoaning the death of the romantic comedy for years, but the genre persists—albeit often in a different form from the screwballs of the nineteen-forties or the “chick flicks” of the eighties and nineties. On this episode from the Critics at Large podcast, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss their all-time favorite rom-coms and two new projects marketed as contemporary successors to the greats: Celine Song’s “Materialists” and Lena Dunham’s “Too Much.”

In conservative economics, cuts to social services are often seen as necessary to shrink the expanding deficit. Donald Trump’s budget bill is something altogether different: it cuts Medicaid while slashing tax rates for the wealthiest Americans, adding $6 trillion to the national debt, according to the Cato Institute. Janet Yellen, a former Treasury Secretary and former chair of the Federal Reserve, sees severe impacts in store for average Americans: “What this is going to do is to raise interest rates even more. And so housing will become less affordable, car loans less affordable,” she tells David Remnick. “This bill also contains changes that raise the burdens of anyone who has already taken on student debt. And with higher interest rates, further education—college [and] professional school—becomes less affordable. It may also curtail investment spending, which has a negative impact on growth.” This, she believes, is why the President is desperate to lower interest rates; he has spoken of firing his appointed chair of the Federal Reserve, Jerome Powell, whom he has called a “numbskull” and a “stupid person,” and installing a more compliant chair. But lowering interest rates to further political goals, Yellen says, “are the words one expects from the head of a banana republic that is about to start printing money to fund fiscal deficits. … And then you get very high inflation or hyperinflation.”

Plus, “rarely have so many members of Congress voted for a measure they so actively disliked,” Susan B. Glasser noted in her latest column in The New Yorker, after the passage of a deficit-exploding Republican budget. Millions of people will lose access to Medicaid—a fact that the President lies about directly—and many trillions of dollars will be added to the deficit. Interest payments on the federal debt will skyrocket, and Trump is so desperate for lower interest rates that he seems poised to fire his own chair of the Federal Reserve and install a compliant partisan to head the heretofore independent central bank. “Anybody panicking about that in Washington?” David Remnick asks Glasser. “I think we are the boiled frog,” she replies. “We are almost panic-immune at this point, in the same way that Donald Trump has, I think, inoculated much of America against facts in our political debate. Even inside of Washington, there's so many individual crises at one time it’s very very hard in Trump 2.0 to focus on any one of them.”

Kalief Browder was jailed at Rikers Island at the age of sixteen; he spent three years locked up without ever being convicted of a crime, and much of that time was spent in solitary confinement. In 2014, the New Yorker staff writer Jennifer Gonnerman wrote about Browder and the failings of the criminal-justice system that his case exposed: unconscionable delays in the courts, excessive use of solitary confinement, teen-agers being charged for crimes as adults, brutality on the part of correction officers. Ten years ago, on June 6, 2015, Browder died by suicide. On The New Yorker Radio Hour, Gonnerman shares excerpts from the interviews she recorded with Browder, in which he described the psychological toll of spending years in a twelve-by-seven cell.

This segment originally aired on June 3, 2016.

In 2022, The New Yorker published a personal history about growing up in Ireland during the nineteen-sixties and seventies. It covers the interfaith marriage of the author’s parents, which was unusual in Dublin; his mother’s early death; and finding his calling in music. The author was Bono, for more than forty years the lyricist and lead singer of one of the biggest rock bands on the planet. As U2 sold out arenas and stadiums, Bono held forth on a range of social causes; he became “the definitive rock star of the modern era,” as Kelefa Sanneh puts it. Bono joined David Remnick at the 2022 New Yorker Festival to talk about his new memoir, “Surrender.” “When I sang in U2, something got a hold of me,” Bono said. “And it made sense of me.” They discussed how the band almost ended because of the members’ religious faith, and how they navigated the Troubles as a bunch of young men from Dublin suddenly on the world stage. Bono shared a life lesson from Paul McCartney, and he opened up about the early death of his mother. “This wound in me just turned into this opening where I had to fill the hole with music,” Bono said. In the loss of a loved one, “there’s sometimes a gift. The opening up of music came from my mother.”

This segment originally aired on October 28, 2022.

In 2024, Harvard University offered a course on Taylor Swift. It was popular, to say the least. That course was taught by a professor and literary critic named Stephanie Burt. In The New Yorker, Burt has written seriously about comics and science fiction, but she’s also considered great poets such as Seamus Heaney and Mary Oliver. Now, Burt has put together an anthology titled, “Super Gay Poems.” It’s a collection of L.G.B.T.Q. poetry, whose contents begin after the Stonewall uprising, in 1969. When describing the collection, Burt tells the New Yorker Radio Hour producer Jeffrey Masters, “ There are poems where we read it and we say, Wow, that’s me. And there are poems where we read it and we say, Wow, I didn’t know that can happen; that’s not me; that’s new to me; that’s different. And there are poems where we read them and we just say, That’s beautiful. That is elegant. That is funny. That is sexy. That is hot. That is so sad that I don’t know why I like it, but I do. And I like making those experiences available to readers.”

The relationship between Fox News and Donald Trump is not just close; it can be profoundly influential. Trump frequently responds to segments in real time online—even to complain about a poll he doesn’t like. He has tapped the network for nearly two dozen roles within his Administration—including the current Secretary of Defense, Pete Hegseth, a former Fox News host. The network is also seen as having an outsized impact on his relationship with his base, and even on his agenda. Most recently, it’s been reported that Fox News’ coverage of the Iran-Israel conflict played a role in Trump’s decision to enter that fight. And while the network’s right-wing commentators—from Sean Hannity to Laura Ingraham to Mark Levin—tend to grab the most headlines and stand as the ideological coloring of the network, “Special Report,” Fox’s 6 P.M. broadcast, anchored by Bret Baier, is essential to the conservative-media complex. Baier draws more than three million viewers a night, at times surpassing legacy brands like “CBS Evening News,” despite being available in half as many homes. Baier insists on his impartiality, but his network’s reputation as an outlet for the right and its connection to President Trump himself can make his job representing the news arm of the network more challenging. And, when it comes to Trump and his relationship to the media, Baier tells David Remnick, “I think it is this cat-and-mouse game. You know, for all of the things he says about the media . . . he’s reaching out and doing interviews with the same people he says are nasty.”

A mega-donor to the Republican Presidential campaign, Elon Musk got something no other titan of industry has ever received: an office in the White House and a government department tailor-made for him, with incalculable influence in shaping the Administration. But even with Musk out of Washington, it remains a fact that the influence of wealth in America has never been greater. As one case in point, Donald Trump’s “big beautiful bill” is estimated to raise or leave flat the taxes of about 57 million households, while the top five per cent of earners will have their taxes cut by more than $1.5 trillion. From his perch in Washington, Evan Osnos has for years been looking at the politics of hyper-wealth. While the wealthy have always held outsized influence, Osnos explains how tech tycoons, in particular, sought far greater influence under Donald Trump’s second Administration. “These are guys who really believed that they were the greatest example of entrepreneurship,” he tells David Remnick, “and that all of a sudden they found that, no, they were being called monopolists, that they were being accused of invading people's privacy, that in fact they had been blamed for the degradation of democracy, of our children’s emotional health, of our attention spans. They suddenly saw that there was a new President who would not only forgive any of those kinds of mistakes and patterns of abuse but would in fact celebrate them, and would roll back any of the regulation that was in their way.” Osnos’s new book, collected from his reporting in The New Yorker, is “The Haves and Have-Yachts: Dispatches on the Ultrarich.”

The Ayatollahs who have ruled Iran since 1979 have long promised to destroy the Jewish state, and even set a deadline for it.  While arming proxies to fight Israel—Hezbollah in Lebanon, Hamas in Gaza, the Houthis in Yemen, and more—Iran is believed to have sought to develop nuclear weapons for itself. “The big question about Iran was always how significant is its apocalyptic theology,” Yossi Klein Halevi explains to David Remnick. “How central is that end-times vision to the Iranian regime? And is there a possibility that the regime would see a nuclear weapon as the way of furthering their messianic vision?” Halevi is a journalist and senior fellow at the Shalom Hartman Institute, and he co-hosts the podcast “For Heaven’s Sake.” He is a fierce critic of Benjamin Netanyahu, saying “I have no doubt that he is capable of starting a war for his own political needs.” And yet Netanyahu was right to strike Iran, Halevi asserts, no matter the consequences.  “The Israeli perspective is not … the American war in Iraq and Afghanistan. It’s our own experience.” 

The New Yorker recently published a report from Sudan, headlined “Escape from Khartoum.” The contributor Nicolas Niarchos journeyed for days through a conflict to reach a refugee camp in the Nuba Mountains, where members of the country’s minority Black ethnic groups are seeking safety, but remain imperilled by hunger. The territory is “very significant to the Nuba people,” Niarchos explains to David Remnick. “They feel safe being there because they have managed to resist genocide before by hiding in these mountains. And then you start seeing the children with their distended bellies, and you start hearing the stories of the people who fled.” The civil war pits the Sudanese Army against a militia group called the Rapid Support Forces. Once allies in ousting Sudan’s former President, the Army and the R.S.F. now occupy different parts of the country, destroying infrastructure in the opposing group’s territory, and committing atrocities against civilians: killing, starvation, and widespread, systematic sexual violence. The warring parties are dominated by Sudan’s Arabic-speaking majority, and “there’s this very, very toxic combination of both supremacist ideology,” Niarchos says, and “giving ‘spoils’ to troops instead of paying them.” One of Niarchos’s sources, a man named Wanis, recalls an R.S.F. soldier telling him, “If you go to the Nuba Mountains, we’ll reach you there. You Nuba, we’re supposed to kill you like dogs.”

Barbra Streisand has been a huge presence in American entertainment—music, film, and stage—for more than sixty years. She was the youngest person ever to achieve the EGOT, winning Emmy, Grammy, Oscar, and Tony awards by the age of twenty-seven. At eighty-three years old, Streisand is releasing a new album, “The Secret of Life: Partners, Volume 2.” It’s a collection of duets featuring Paul McCartney, Bob Dylan, and Seal, along with younger artists including Hozier, Sam Smith, and Ariana Grande. Streisand sat down with David Remnick to talk about the record and the history behind it. Bob Dylan, for one, apparently had a crush on the singer from afar. “We were both nineteen years old in Greenwich Village, never met each other,” Streisand says. “I remember him sending me flowers and writing me a card in different color pencils, like a child’s writing, you know. And ‘Would you sing with me?’ And I thought, What would I sing with him?” Streisand talks with Remnick about her complicated childhood with her mother, who was jealous of her talent; her dislike of live performance; and the classy way to rebuff a come-on from Marlon Brando.