Chloé Zhao was the second woman to ever win an Oscar for Best Director, for her 2020 film “Nomadland.” After taking a wide turn to create the Marvel supernatural epic “Eternals,” Zhao has taken another intriguing change of direction with “Hamnet,” based on Maggie O’Farrell’s novel about how William Shakespeare coped with the death of his only son. In conversation with the New Yorker staff writer Michael Schulman, Zhao discusses the role that nature plays in her filmmaking, from the American West to the forests of Britain; the process of adapting manga to film; and how neurodivergence informs her creative process.

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.

As a California congressman, Adam Schiff was the lead manager during the first impeachment proceedings against Donald Trump. He later served on the January 6th committee. Trump has castigated him as “Shifty Schiff” and demanded that the Justice Department investigate him. In a conversation with David Remnick, Schiff discusses the current inquiry into his mortgage by federal authorities; the Supreme Court’s primary role in enabling this Administration; and why he thinks the rule of law in America is “hanging by a thread.” Unlike some Democrats, Schiff is not sanguine that the release of the Epstein files will damage Trump politically. “If there are ruinous things in the files . . . Bondi and company will make sure they never reach the public eye,” Schiff says. But also, “I think he’s almost impervious to dirt.”

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.

The filmmaker Noah Baumbach can recall when he may have fallen out of love with his craft. He was shooting “White Noise,” based on Don DeLillo’s novel, “on a deserted highway in Ohio at 4 A.M. with a rain machine.” “Oh, God, I don’t know that I like doing this,” he recalls thinking. “Am I doing this”—making movies—“only because I do it?” He channelled that angst into his new film “Jay Kelly,” a Hollywood comedy of manners starring George Clooney as a very famous movie star who suddenly wonders whether it was all worth it, and why people keep offering him cheesecake. In October, Baumbach spoke with The New Yorker’s articles editor, Susan Morrison, at The New Yorker Festival about working with his wife, Greta Gerwig, on “Barbie,” and why the first lines of his movies can tell you everything.

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.

In his latest novel, Ian McEwan imagines a future world after a century’s worth of disasters. The good news in “What We Can Know” is that humanity still exists, which McEwan calls “nuanced optimism.” He and David Remnick discuss the tradition of the big-themed social novel, which has gone out of literary fashion—“rather too many novels,” McEwan theorizes, hide “their poor prose behind a character.” But is the realist novel, Remnick wonders, “up to the job” of describing today’s digital life? It remains “our best instrument of understanding who we are, of representing the flow of thought and feeling, and of representing the fine print of what happens between individuals,” McEwan responds. “We have not yet found a compelling replacement.” And yet he does not care to moralize: “the pursuit has also got to be of pleasure.”

McEwan spoke with David Remnick at a public event organized by the 92nd Street Y in New York.

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.

Only thirty per cent of the American public identifies with the MAGA movement, according to a recent NBC poll, but that coalition remains intensely loyal to Donald Trump in the face of scandals and authoritarian measures. Defections seem rare and come with the risk of reprisal, even from the President himself. Rich Logis is trying to make them less rare with his advocacy organization, Leaving MAGA. The nonprofit’s website features testimonials from former adherents, and offers advice for how friends and family can reconnect after ruptures over politics. Logis himself had been a true believer: he worked on Trump’s campaign, wrote articles, released a podcast, and called Democrats “the most dangerous group in the history of our Republic, foreign or domestic—more than Islamic supremacists, more than the Nazis.” He didn’t view MAGA as reactionary, but “very progressive and forward facing.” But somewhere along the way, Logis hung up his red hat. “Even today, talking about my past, the feelings are conjured—those feelings of being welcomed and feeling like you’re part of something, and the exhilaration that comes from that,” he tells the New Yorker Radio Hour’s Adam Howard. Logis emphasizes that leaving MAGA is difficult because, as much as it’s a political ideology, it’s also an identity that meets emotional needs. “I think that there’s a lot of trauma within the MAGA base, whether it’s political or economic. . . . I’m not qualified to make any kind of diagnosis. I’m not a therapist or a clinician, but there’s a lot of pain within MAGA. And I think that a better question [instead] of asking ‘What’s wrong with you?’ is ‘What happened to you?’ ”

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.

Both major parties are experiencing a crisis of leadership in Washington. President Trump’s flip-flopping on the Epstein files acknowledges that, on this issue, at least, he has lost control of MAGA. For the Democrats, the collapse of their consensus on the government shutdown deepens a sense that the current leadership is ineffective. For all the talk of unity, the Party is profoundly divided on what message to convey to voters. “Some people argue that we should just—no matter what Donald Trump does or says—just always come back to the economy and prices,” Senator Chris Van Hollen, of Maryland, tells David Remnick. “And, of course, we should be very focussed on the economy and prices and rising health-care costs, as we have been. But to suggest that we should look the other way in the face of all these other outrages is, I think, a mistake, because I think the American people are tiring of Donald Trump. I think the polls indicate that.” Van Hollen is trying to pave a path between his party’s left and the establishment. He’s used the word “spineless” to describe colleagues in Congress who refused to endorse Zohran Mamdani in his mayoral campaign, but he has not called for Chuck Schumer to step down from leadership, as others have. Van Hollen wants “to be very much part of the debate as to where the Democratic Party goes.” Would that extend, Remnick wonders, to running for President? “My goal at this moment really is to stiffen the spine of the Democratic Party. But that means not just resistance to Trump. It also means taking on very powerful special interests that I think have had too much sway in both the Republican Party for sure, but also in the Democratic Party.” Remnick replies, “I’ve heard firmer nos in my time.”

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.

The curator Thelma Golden is a major presence in New York City’s cultural life, having mounted era-defining exhibitions such as “Black Male” and “Freestyle” early on in her career. Golden is the Ford Foundation director and chief curator of the Studio Museum in Harlem, an institution, founded in 1968, that is dedicated to contemporary artists of the African diaspora. But, for a significant portion of her tenure, this singular institution has been closed to the public. Golden led the initiative to create a new, purpose-built home—requiring the demolition of an old building and reconstruction on the same site. To mark its reopening, David Remnick tours the new space with Golden, discussing some key works and the museum’s mission. He notes that this triumphant moment for the Studio Museum comes during a time of broad attacks on cultural institutions, particularly on expressions of identity politics. “I take a lot of inspiration from our founders, who opened up in a complicated moment,” Golden reflects. “My own career began in the midst of the culture wars of [the nineteen-nineties]. Understanding museums as a place that should be, can be, must be where we engage deeply in ideas. In this moment, that has to offer some hope as we consider a future.”

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.

When President Donald Trump began his tariff rollout, the business world predicted that his unprecedented attempt to reshape the economy would lead to a major recession, if Trump went through with it all. But the markets stabilized and, in recent months, have continued to surge. That has some people worried about an even bigger threat: that overinvestment in artificial intelligence is creating a bubble. Andrew Ross Sorkin, one of today’s preëminent financial journalists, is well versed in what’s happening; his début book, “Too Big to Fail,” was an account of the 2008 financial crash, and this year he released “1929: Inside the Greatest Crash in Wall Street History—and How It Shattered a Nation.” He tells David Remnick that the concern lies in the massive borrowing to build the infrastructure for a future A.I. economy, without the sufficient revenue, currently, to pay off the loans. “If I learned anything from covering 1929, [and] covering 2008, it is leverage,” Sorkin says, “people borrowing to make all of this happen. And right now we are beginning to see a remarkable period of borrowing to make the economics of A.I. work.” Sorkin is the co-anchor of “Squawk Box” on CNBC, and he also founded the New York Times’ business section, DealBook.

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.