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  • It’s Not Just You: The Internet Is Actually Getting Worse
    “Sometimes a term is so apt, its meaning so clear and so relevant to our circumstances, that it becomes more than just a useful buzzword and grows to define an entire moment,” the columnist Kyle Chayka writes, in a review of Cory Doctorow’s book “Enshittification.” Doctorow, a prolific tech writer, is a co-founder of the tech blog Boing Boing, and an activist for online civil liberties with the Electronic Frontier Foundation—so he knows whereof he speaks. He argues that the phenomenon of tech platforms seemingly getting worse for users is not a matter of perception but a business strategy. For example, “the Google-D.O.J. antitrust trial last year surfaced all these memos about a fight about making Google Search worse,” Doctorow explains, in a conversation with Chayka. A Google executive had suggested that, instead of displaying perfectly prioritized results on the first search attempt, “what if we make it so that you got to search two or three times, and then, every time, we got to show you ads?” But, Doctorow argues, there is hope for a better future, if we can resist complacency; big internet platforms all depend on forms of “surveillance” of their users. “The coalition [against this] is so big, and it crosses so many political lines,” Doctorow says, “that if we could just make it illegal to spy on people, we could solve so many problems.”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.
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  • Zadie Smith on Politics, Turning Fifty, and Mind Control
    Since Zadie Smith published her début novel, “White Teeth,” twenty-five years ago, she has been a bold and original voice in literature. But those who aren’t familiar with Smith’s work outside of fiction are missing out. As an essayist, in The New Yorker and other publications, Smith writes with great nuance about culture, technology, gentrification, politics; “There’s really not a topic that wouldn’t benefit from her insight,” David Remnick says. He spoke with Smith about her new collection of essays, “Dead and Alive.” “The one thing about talking about essays,” she notes, ruefully, “is you find yourself saying the same thing, but worse—without the commas.” One of the concerns in the book is the role of our devices, and social media in particular, in shaping our thoughts and our political discourse. “Everybody has a different emphasis on [Donald] Trump and what’s going on. My emphasis has been on, to put it baldly, mind control. I think what’s been interesting about the manipulations of a digital age is that it is absolutely natural and normal for people to be offended at the idea that they are being manipulated. None of us like to feel that way. And I think we wasted about—whatever it’s been since the invention of the Iphone—trying to bat away that idea, calling it a moral panic, blaming each other, [and] talking about it as if it were an individual act of will.” In fact, she notes, “we are all being manipulated. Me, too. . . . Once we can all admit that, on the left and the right, then we can direct our attention to who’s been doing this and to what advantage.”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.
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  • Richard Linklater on His Two New Films, “Blue Moon” and “Nouvelle Vague”
    Richard Linklater is one of the most admired directors working today, and yet moviegoers may admire him for very different things. There are early comedies such as “Slacker” and “Dazed and Confused”; there’s the romance trilogy that started with “Before Sunrise,” starring Ethan Hawke and Julie Delpy; and the crowd-pleasers like “School of Rock” and “Hit Man.” Linklater’s “Boyhood,” a coming-of-age story shot in the course of twelve years as its protagonist grew from child to young adult, is almost without precedent. This month, Linklater has two new movies releasing almost simultaneously, both dramatizing historical moments in the lives of creative geniuses. In “Blue Moon,” Hawke plays the Broadway lyricist Lorenz Hart at the moment his career is being eclipsed by a rival, Oscar Hammerstein II. “My tagline for this movie, that they’re not going to use on any posters, but it’s my tagline: ‘Forgotten, but not gone,’ ” Linklater tells our film critic Justin Chang. “It’s so heartbreaking . . . to do a film about the end of someone’s career.” In “Nouvelle Vague,” which is almost entirely in French, Linklater depicts the unconventional filming of Jean-Luc Godard’s “Breathless,” his triumphant 1959 début. “The most important film,” Linklater says, “is the one you make in your head.” Justin Chang’s article about Richard Linklater was published on September 27, 2025.
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  • How the Trump Administration Made Higher Education a Target
    The swiftness and severity with which the Trump Administration has tried to impose its will on higher education came as a shock to many, not least university presidents and faculties from Harvard to U.C.L.A. But for conservatives this arena of cultural conflict has been a long time coming. The staff writer Emma Green has been speaking with influential figures in the current Administration as well as in the larger conservative movement about how they mapped out this battle for Donald Trump’s return to power. “There’s a recognition among the people that I interviewed,” Green tells David Remnick, “that the Administration cannot come in and script to universities: this is what you will teach and this is the degrees that you will offer, and just script it from top to bottom. First of all, that would be not legally possible. And it also, I think in some ways, violates core instincts that conservatives have around academic freedom, because a lot of these people have been on élite campuses and had the experience of being told that their views weren’t acceptable.” Green also speaks with James Kvaal, an education official who served in both the Biden and Obama Administrations, and May Mailman, a conservative education-policy activist who worked in the Trump White House and coördinated its attacks against universities. “When you have federal grants, you do not need to be funding racism and racial hierarchies and violence and harassment,” Mailman told Green. “I think that line is: do what you wanna do, but we don’t want to have to fund it.” Emma Green’s “Inside the Trump Administration’s Assault on Higher Education” was published on October 13, 2025.
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  • John Carpenter Picks Three Favorite Film Scores
    The filmmaker John Carpenter has a whole shelf of cult classics: “They Live,” “The Thing,” “Escape from New York,” “Halloween,” and so many more. And while he hasn’t directed a new movie in more than a decade, Carpenter has continued working in the film industry, composing scores for other directors (Bong Joon Ho recently approached him about a horror movie). He has also released albums of cinematic music—no film required—often working with his son, Cody Carpenter, and the musician Daniel Davies, his godson. The New Yorker Radio Hour producer Adam Howard talks with Carpenter ahead of the launch of his new small tour, just in time for Halloween, and they discuss the unusual shift he made from directing to composing. “It’s a transition from pain to joy. Directing movies is very, very stressful,” Carpenter explains. “Playing music in front of a live audience—it’s joy. It’s just joy.” Carpenter suggests three inspirational scores from film history: Bebe and Louis Barron’s electronic music for “Forbidden Planet”; Bernard Herrmann work on Hitchcock’s “Vertigo”; and Hans Zimmer’s music for “Pirates of the Caribbean: Dead Man’s Chest.”
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