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WNYC Studios and The New Yorker

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.

The Political Scene | The New Yorker

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. 

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Inside Donald Trump’s Mass-Deportation Plans

After a five-day manhunt, Luigi Mangione, a twenty-six-year-old Ivy League graduate, was arrested and charged on Monday with the widely publicized assassination of the UnitedHealthcare C.E.O. Brian Thompson. The case seized public imagination, and there has been a torrent of commentary celebrating Mangione and denigrating Thompson, including fan edits of the alleged shooter to posts sharing personal anecdotes of denied health-insurance claims. “Mangione is going to be seen as a folk hero across the aisle,” the New Yorker staff writer Jia Tolentino tells Tyler Foggatt. What does the lionization of a suspected murderer say about the health of our society? 

This week’s reading:

 • “
How Daniel Penny Was Found Not Guilty in a Subway Killing That Divided New York • ,” by Adam Iscoe

 • “
A Man Was Murdered in Cold Blood and You’re Laughing? • ,” by Jia Tolentino

 • “
What Will Elon Musk and Vivek Ramaswamy Accomplish with Doge? • ,” by Benjamin Wallace-Wells“

 • 
The Fall of Assad’s Syria • ,” by Rania Abouzeid

To discover more podcasts from The New Yorker, visit newyorker.com/podcasts. To send feedback on this episode, write to themail@newyorker.com.

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Why Luigi Mangione Is Being Treated as a Folk Hero

1. 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.”

 2. 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.”

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Rashid Khalidi on the Palestinian Cause in a Volatile Middle East, and the Meaning of Settler Colonialism

From the conflict in Gaza and the war in Ukraine to political chaos across Europe and the reëlection of Donald Trump, 2024 has been among the most tumultuous years in recent memory. Isaac Chotiner, the primary contributor to The New Yorker’s Q. & A. segment, has been following it all. He joins the show to reflect on his favorite interviews of the year, and to discuss 2024’s two biggest stories: the violence in Gaza and the reëlection of Donald Trump. Chotiner also talks about Joe Biden’s legacy, and his view on how Biden’s Presidency will be regarded by history.

This week’s reading:

 • “
The Year in Brain Rot • ,” by Jessica Winter

 • “
Luigi Mangione and the Making of a Modern Antihero • ,” by Jessica Winter

 • “
Syria After Assad • ,” by Robin Wright

 • “
In South Korea, a Blueprint for Resisting Autocracy? • ,” by E. Tammy Kim

Tune in to The Political Scene wherever you get your podcasts.

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We Have Some Questions for Isaac Chotiner About 2024

The Washington Roundtable revisits an episode recorded after Henry Kissinger’s death, in November, 2023. Susan B. Glasser, Jane Mayer and Evan Osnos evaluate Kissinger’s controversial legacy, share anecdotes from his time in and around Washington, and discuss how he continued to shape U.S. foreign policy long after leaving the State Department.

“There are not that many hundred-year-olds who insist upon their own relevance and actually are relevant,” Glasser says.

This week’s reading:

 • “
Henry Kissinger’s Hard Compromises • ,” by Evan Osnos

 • “
Why Washington Couldn’t Quit Kissinger • ,” by Isaac Chotiner

This episode was originally published in December, 2023.

To discover more podcasts from The New Yorker, visit newyorker.com/podcasts. To send in feedback on this episode, write to themail@newyorker.com with “The Political Scene” in the subject line.

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How Henry Kissinger Accumulated and Wielded Power

President Jimmy Carter has died at the age of one-hundred. He is remembered as a man of paradoxes: an evangelical-Christian Democrat, a white Southern champion of civil rights and solar energy, and a one-term President whose policies have come to seem prescient. Carter was unpopular when he departed the White House, in 1981, but, more than any other President, he saw his reputation improve after he left office. What does the evolution of Carter’s legacy tell us about American politics, and about ourselves? Lawrence Wright spent significant time with Carter and even wrote a play about the Camp David Accords, the peace deal that only Carter, Wright argues, could have brokered between Israel and Egypt. He joins Tyler Foggatt to remember Carter as a man and leader. 

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Remembering Jimmy Carter, a “President Out of Time”

The New Yorker staff writer Jay Caspian Kang joins Tyler Foggatt to discuss efforts by the U.S. government to rein in social media, including the latest attempt to ban TikTok. While Kang agrees that society should be more conscientious about how we, especially children, use social media, he argues that efforts to ban these apps also violate the First Amendment. 

“Social media has become the public square, even if it is privately owned,” he says. 

This episode was originally published in March, 2024.

This week’s reading:

 • “
The Misguided Attempt to Control Tiktok • ,” by Jay Caspian Kang

To discover more podcasts from The New Yorker, visit newyorker.com/podcasts. To send feedback on this episode, write to themail@newyorker.com.

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Why Banning TikTok Could Violate the First Amendment

The Political Scene will be back next week. In the meantime, enjoy a recent episode from The New Yorker’s Critics at Large podcast. Artists owe a great debt to ancient Rome. Over the years, it’s provided a backdrop for countless films and novels, each of which has put forward its own vision of the Empire and what it stood for. The hosts Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss the latest entry in that canon, Ridley Scott’s “Gladiator II,” which has drawn massive audiences and made hundreds of millions of dollars at the box office. The hosts also consider other texts that use the same setting, from the religious epic “Ben-Hur” to Sondheim’s farcical swords-and-sandals parody, “A Funny Thing Happened on the Way to the Forum.” Recently, figures from across the political spectrum have leapt to lay claim to antiquity, even as new translations have underscored how little we really understand about these civilizations. “Make ancient Rome strange again. Take away the analogies,” Schwartz says. “Maybe that’s the appeal of the classics: to try to keep returning and understanding, even as we can’t help holding them up as a mirror.”

Read, watch, and listen with the critics:

“Gladiator II” (2024)

“I, Claudius” (1976)

“A Funny Thing Happened on the Way to the Forum” (1966)

“The Last Temptation of Christ” (1988)

“Monty Python’s Life of Brian” (1979)

“Cleopatra” (1963)

“Spartacus” (1960)

“Ben-Hur” (1959)

“Gladiator” (2000)

“The End of History and the Last Man,” by Francis Fukuyama

“I, Claudius,” by Robert Graves

“I Hate to Say This, But Men Deserve Better Than Gladiator II,” by Alison Willmore (Vulture)

“On Creating a Usable Past,” by Van Wyck Brook (The Dial)

Emily Wilson’s translations of the Odyssey and the Iliad

New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.

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From Critics at Large: The Modern-Day Fight for Ancient Rome

After nearly a decade as Prime Minister of Canada, Justin Trudeau has resigned from office. His stepping down follows a years-long decline in popularity, which stands in sharp contrast to his meteoric rise in 2015. It now seems likely that the Conservative Party leader Pierre Poilievre, whose far-right populist support some have likened to Trump’s MAGA movement, will attain Canada’s highest office. The New Yorker staff writer Adam Gopnik joins the show to discuss Trudeau’s descent, Poilievre’s ascent, expectations for the upcoming parliamentary election, and what the future of Canadian politics may hold. 

This week’s reading:

 • “
Why Justin Trudeau Had to Step Down • ,” by Adam Gopnik

 • “
How Much Do Democrats Need to Change? • ,” by Peter Slevin

 • “
Bourbon Street After the Terror • ,” by Paige Williams

 • “
How Sheriffs Might Power Trump’s Deportation Machine • ,” by Jessica Pishko

 • “
New Mexico’s Nuclear-Weapons Boom • ,” by Abe Streep 

To discover more podcasts from The New Yorker, visit newyorker.com/podcasts. To send feedback on this episode, write to themail@newyorker.com.

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Will Justin Trudeau’s Resignation Lead to the MAGA-fication of Canada?

The Washington Roundtable discusses Mark Zuckerberg’s decision to end its fact-checking program across Meta’s social-media sites. Instead, Meta will release a tool that allows readers to add context and corrections to posts, similar to the way one can leave a “community note” on X. What does this choice mean for truth online in the coming Trump Administration, and have “alternative facts,” as they were dubbed by Kellyanne Conway in 2017, won out? Plus, free speech in the era of Donald Trump, lawsuits brought against the mainstream media, and how journalists will cover President Trump’s second Administration.

This week’s reading:

 • “
King Donald and the Presidents at the National Cathedral • ,” by Susan B. Glasser

 • “
Why the MAGA Fight Over H-1B Visas Is Crossing Party Lines • ,” by John Cassidy

 • “
Lauren Boebert’s Survival Instincts • ,” by Peter Hessler

Tune in wherever you get your podcasts.

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What the End of Meta’s Fact-Checking Program Means for the Future of Free Speech

Actors and comedians have usually played Donald Trump as larger than life, almost as a cartoon. In the new film “The Apprentice,” Sebastian Stan doesn’t play for laughs. He stars as a very young Trump falling under the sway of Roy Cohn (played by Jeremy Strong)— the notorious, amoral lawyer and fixer. “Cohn took Donald Trump under his wing when Donald was a nobody from the outer boroughs,” the film’s writer and executive producer Gabriel Sherman tells David Remnick. He “taught him the dark arts of power brokering … [and] introduced him to New York society.” Sherman, a contributing editor to New York magazine, also chronicled Roger Ailes’s rise to power at Fox News in “The Loudest Voice in the Room.” Sherman insists, though, that the film is not anti-Trump—or not exactly. “The movie got cast into this political left-right schema, and it’s not that. It’s a humanist work of drama,” in which the protégé eventually betrays his mentor. It almost goes without saying that Donald Trump has threatened to sue the producers of the film, and the major Hollywood studios wouldn’t touch it. Sherman talks with Remnick about how the film, which opens October 11th, came to be.

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Young Donald Trump, Roy Cohn, and the Dark Arts of Power

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