Florida Governor Ron DeSantis has shown himself uniquely skilled at attracting attention beyond the borders of his home state.  Just this month, DeSantis blocked state funds for the Tampa Bay Rays stadium after players voiced support for gun control in the wake of the mass shooting in Uvalde, Texas.  He’s also continuing a fight to punish the Disney Corporation for criticizing Florida’s so-called Don’t Say Gay law.  An Ivy League-educated anti-élitist firebrand, he is willing to pick a fight with anyone—reporters, health officials, teachers, Mickey Mouse—to grab a headline. DeSantis “practically radiates ambition,” the staff writer Dexter Filkins tells David Remnick. “He sounds like Trump, except that he speaks in complete sentences. … He’s very good at staking out a position and pounding the table and saying, I’m not giving in to the liberals in the Northeast.” Yet despite having been anointed by Donald Trump in his primary election, DeSantis has refused to “kiss the ring,” and many see DeSantis as a possible opponent to Trump in a 2024 Republican primary.

Michael R. Jackson’s Tony and Pulitzer Prize-winning musical “A Strange Loop” features a Black queer writer named Usher, who works as an usher, struggling to write a musical about a Black queer writer. Jackson’s work tackles the terror of the blank page alongside the terrors of the dating scene, and it speaks in frank and heartbreaking terms about Usher’s attempt to navigate gay life among Black and white partners. Hilton Als talked with Jackson about how he found inspiration in his own experience seeking identity and community. “I started writing the original monologue—building a sort of life raft for myself—to understand myself,” Jackson said. “It wasn’t until I got to a place of understanding that in my life I was caught up in a loop of self-hatred, that I could see what Usher’s problem was, and therefore what the structure of the piece was that would lead him out of that and into a better place.”

“A Strange Loop” is playing now at the Lyceum Theatre, on Broadway.

Ian Frazier, who has chronicled American life for The New Yorker for more than forty years, travelled to a house in Fort Collins, Colorado, where three roommates build, fly, and race drones. Jordan Temkin, Zachry Thayer, and Travis McIntyre were among the early professional drone racers in the sport, piloting the tiny devices through complex courses at upward of eighty miles an hour. Drones have had an enormous impact on military strategy, and the commercial applications seem limitless, but to these pilots drones exist in the strange overlap between pure adrenaline and big money that defines pro sports.

This piece originally aired on February 9, 2018.

David Remnick talks with Katie Drummond, the global editorial director of Wired magazine, about the TikTok ban that just passed with bipartisan support in Washington. The app will be removed from distribution in U.S. app stores unless ByteDance, the Chinese company that owns TikTok, sells it to an approved buyer. TikTok is suing to block that law. Is this a battle among tech giants for dominance, or a real issue of national security? Drummond sees the ban as a corporate crusade by Silicon Valley to suppress a foreign competitor with a superior product. The claim that TikTok is a national-security threat she finds “a vast overreach that is rooted in hypotheticals and that is rooted in hypocrisy, and in … a fundamental refusal to look across the broad spectrum of social media platforms, and treat all of them from a regulatory point of view with the same level of care and precision.” Plus, the food writer Hannah Goldfield on salmon cooked in the dishwasher, and other highlights of culinary TikTok videos.

When Robert F. Kennedy, Jr., appeared on this show back in July, it was early in his run for President, and he was considered a fringe candidate. He had the name recognition, obviously, and not much else. Now the question seems to be not whether Kennedy is going to be a spoiler in the election but which side he’s more likely to spoil. On The Political Scene, the New Yorker podcast, Washington correspondents Jane Mayer, Evan Osnos, and Susan B. Glasser gather to talk about Kennedy’s candidacy and his potential impact. “He’s not a serious threat in terms of being able to win,” Mayer says, “but he is potentially a serious threat in being able to spoil this election for one side or the other.”

From Cambridge to Los Angeles and at dozens of schools in between, campuses are roiled by protest against American financial and military support for Israel’s war in Gaza—and by university actions, including mass arrests, to suppress the protesters. There hasn’t been a college protest movement as widespread since the Vietnam War. Apart from the violence in the Middle East, the protests also engage crucial issues of speech and academic freedom in the context of America’s culture war. David Remnick looks at the turmoil and its reverberations through the lens of one campus, Harvard University, where much of the furor began. He speaks with a protester whose statement justifying the October 7th Hamas attack became a political flashpoint; two student journalists who covered the resignation of the university’s president Claudine Gay; the law-school professor Randall Kennedy; and the former Harvard president Lawrence Summers.

Brad Raffensperger, who holds the usually low-profile office of secretary of state in Georgia, became famous after he recorded a phone call with Donald Trump. Shortly after the 2020 election, Trump demanded that Georgia officials “find 11,780 votes” so that he could win the state. The recorded phone conversation is a linchpin in the Fulton County racketeering case against Trump. Refusing that demand, Raffensperger—a lifelong Republican—received death threats from enraged Trumpists, and the state senate still wants to investigate him for it. But the politician tells David Remnick that he hasn’t lost faith in his party. He believes he can convince election deniers of the fairness of Georgia’s methods. And, by the way, that story line on “Curb Your Enthusiasm” about the Georgia crime of giving a person water while they wait in line to vote? Raffensperger has a suggestion for Larry David.

Jerry Seinfeld used to have a comedy bit about the invention of the Pop-Tart, but when his friend Spike Feresten—who wrote the famous “Soup Nazi” episode of “Seinfeld”—suggested it as a topic for a movie, even Seinfeld said “There’s no movie here.” But they workshopped the story, turning the invention of the Pop-Tart into a nutty postwar epic. Seinfeld has written films before, including “Bee Movie,” but this time he’s making his début as a director with “Unfrosted.” (The production did not, he says, have permission from Kellogg’s.) The comic talks with David Remnick about making a life in comedy, and why he continued to work so hard on his craft after retiring his massively successful sitcom. “This is a writer’s game. If you can write, you succeed. If you can't, you will not make it. . . . Any comedian can be funny onstage, but the bullets are the writing.” And he offers thoughts on old age, as he turns seventy. “God is like, ‘I'm with you up to about thirty-eight,’ ” Seinfeld posits. After that, God says, “ ‘if you want to stay, you can stay. But I’m moving on.’ ”