Donald Trump loves mining, and he would like to expand that effort in the U.S. At least one environmentalist agrees with him, to some extent: the journalist Vince Beiser. Beiser’s recent book is called “Power Metal,” and it’s about the rare-earth metals that power almost every electronic device and sustainable technology we use today. “A lot of people really hate it when I say this, a lot of environmentally minded folks, but I do believe we should be open to allowing more mining to happen in the United States,” he tells Elizabeth Kolbert, herself an environmental journalist of great renown. “Mining is inherently destructive, there’s no getting around it, but . . . we have absolutely got to get our hands on more of these metals in order to pull off the energy transition. There’s just no way to build all the E.V.s and solar panels and all the rest of it without some amount of mining.” At least in the U.S. or Canada, Beiser says, there are higher standards of safety than in many other countries. 

Representative Ro Khanna of California is in the Democrats’ Congressional Progressive Caucus. And although his district is in the heart of Silicon Valley—and he once worked as a lawyer for tech companies—Khanna is focussed on how Democrats can regain the trust of working-class voters. He knows tech moguls, he talks with them regularly, and he thinks that they are forming a dangerous oligarchy, to the detriment of everyone else. “This is more dangerous than petty corruption. This is more dangerous than, ‘Hey, they just want to maximize their corporation's wealth,’ ”he tells David Remnick. “This is an ideology amongst some that rejects the role of the state.” Although he’s an ally of Bernie Sanders, such as advocating for Medicare for All and free public college, Khanna is not a democratic socialist. He calls himself a progressive capitalist. Real economic growth, he says, requires “a belief in entrepreneurship and technology and in business leaders being part of the solution.”

Sara Bareilles broke out as a pop-music star in the late two-thousands. But she’s gone on to have a very different kind of career, writing music for Broadway and eventually performing as an actor on stage and on television.  At the New Yorker Festival, in 2024, she played her early hit “Gravity,” and spoke with staff writer Rachel Syme about the pressures of fame, aging, and why she prefers working in theatre. “There’s so much competition in the music industry. I’m not a competitive person; I don’t understand it. It’s not that theatre isn’t competitive, but there’s this feeling—everybody’s so happy to be there. Like, ‘We got a show, guys, and we don’t know how long it’s going to last!’ ” 

Rachel Aviv reports on the terrible conundrum of Alice Munro for The New Yorker. Munro was a winner of the Nobel Prize in Literature and perhaps the most acclaimed writer of short stories of our time, but her legacy darkened after her death when her youngest daughter, Andrea Skinner, revealed that Munro’s partner had sexually abused her beginning when she was nine years old. The crime was known in the family, but even after a criminal conviction of Gerald Fremlin, Munro stood by him, at the expense of her relationship with Skinner. In her piece, Aviv explores how, and why, a writer of such astonishing powers of empathy could betray her own child, and discusses the ways that Munro touched on this family trauma in fiction. “Her writing makes you think about art at what expense,” she tells David Remnick. “That’s probably a question that is relevant for many artists, but Alice Munro makes it visible on the page. It felt so literal—like trading your daughter for art.”

Introducing Julianne Moore at the New Yorker Festival, in October, the staff writer Michael Schulman recited “only a partial list” of the directors Moore has worked with, including Robert Altman, Louis Malle, Todd Haynes, Paul Thomas Anderson, Lisa Cholodenko, Steven Spielberg, the Coen brothers, and many more legends. It seems almost obvious that Moore co-stars (alongside Tilda Swinton) in Pedro Almodóvar’s first feature in English, “The Room Next Door,” which comes out in December. Moore has a particular knack with unremarkable characters. “I don't know that I seek out things in the domestic space, but I do think I’m really drawn to ordinary lives,” she tells Schulman. “I’ve never been, like, I’m going to play an astronaut next. . . . A lot of these stories [are] domestic stories—well, that’s the biggest story of our lives, right? How do we live? Who do we love? . . . Those are the things that we all know about.”

New episodes of The New Yorker Radio Hour drop every Tuesday and Friday. Follow the show wherever you get your podcasts.

With the Food Network program “Barefoot Contessa,” Ina Garten became a beloved household name. An essential element of her success is her confiding, authentic warmth—her encouragement for even the most novice home cook. Garten is “the real deal,” in the opinion of David Remnick, who has known her and her husband for many years. Although she is a gregarious teacher and presence on television, Garten prefers to do her actual cooking alone. “Cooking’s hard for me. I mean, I do it a lot, but it’s really hard and I just love having the space to concentrate on what I’m doing, so I make sure it comes out well,” she says. Garten joins Remnick to reflect on her early days in the kitchen, and to answer listener questions about holiday meals and more. Her latest book is “Be Ready When the Luck Happens,” a memoir.

This segment originally aired on December 16, 2022.

Plus, Alex Barasch picks three of the best erotic thrillers after being inspired to study the genre by his recent Profile of the director of the new film, “Babygirl.”

In 1979, as Christmas approached, the United States Embassy in Tehran held more than fifty American hostages, who had been seized when revolutionaries stormed the embassy. No one from the U.S. had been able to have contact with them. The Reverend M. William Howard, Jr., was the president of the National Council of Churches at the time, and when he received a telegram from the Revolutionary Council, inviting him to perform Christmas services for the hostages, he jumped at the opportunity. In America, “we had a public that was quite riled up,” Reverend Howard reminds his son, The New Yorker Radio Hour’s Adam Howard. “Who knows what might have resulted if this issue were not somehow addressed? . . . Might there be an American invasion, an attempt to rescue the hostages in a militaristic way?” Reverend Howard was aware that the gesture had some propaganda value to the Iranian militants, but he saw a chance to lower the tension. Accompanied by another Protestant minister and a Catholic bishop, Howard entered front-page headlines, travelling to Tehran and into the embassy. He gave the captives updates on the N.F.L. playoffs, and they prayed. It was a surreal experience to say the least. “It was in the Iranian hostage crisis that I understood how alone we are, and how powerless we are when other people take control,” Reverend Howard says. “And really it’s in that setting that one can develop faith.”

This segment originally aired on December 15, 2023.

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.