Representing Silicon Valley in Congress, Khanna knows tech moguls—and knows how dangerous they are. “Some of them,” he tells David Remnick, “think they’re Nietzsche’s Superman.”

The songwriter and performer on her journey from pop music to theatre, with a live performance of “Gravity.”

Munro kept quiet about the sexual abuse of her daughter by her partner—but wrote about the family trauma in fiction.

The actress talks with Michael Schulman about her time on “As the World Turns,” starring in Pedro Almodóvar’s first film in English, and why she hates when people call actors “brave.”

The food guru explains why she hated dinnertime growing up, and how she learned to love it. Plus, Pick Three: Erotic Thrillers.

In 1979, a minister received a telegram from Iranian militants who had taken hostages in the American embassy, inviting him to perform Christmas services. Two days later, he was inside.

The actor talks with Adam Howard about playing a vampire hunter in Robert Eggers’s remake of “Nosferatu.” After hundreds of vampire movies, Eggers “wanted him to be scary again.”

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.

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.

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.

Jon M. Chu’s adaptation of the Broadway hit is the latest iteration of a quintessentially American form. Why has the musical endured—and where might it go next?

The historian discusses events that have weakened supposed allies of the Palestinians, and the idea of settler colonialism that has taken hold on the left. Critic Adam Kirsch responds.

The actress stars as Rose in a Broadway revival of “Gypsy.” She shares that, throughout her career, some people have been upset when she plays characters conceived for white actors.

The staff writer Jonathan Blitzer on the rhetoric and the reality of deporting “millions”—and why immigrants in the country legally are likely to be targeted.

The New Yorker’s critic on holiday-season films that he’s excited about. “These are not upbeat movies,” Chang admits, “but they are among the most thrilling that I've seen this year.”

The staff writer Vinson Cunningham speaks with the playwright Larissa FastHorse about “The Thanksgiving Play.” Plus, Waldman talks about the science behind why quilting helps with stress.

The first transgender person elected to Congress discusses how to respond to a bathroom bill and transphobic attacks from other House members, including Speaker Mike Johnson.

The Supreme Court Justice talks with David Remnick about the decline in public trust and questions about the Court’s ethical code, and how Justices get along in a very partisan era.

The actress discusses starring in the new film adaptation of “The Piano Lesson,” Wilson’s play about the Great Migration and a family torn apart by inheritance.

Two leading political scientists explain why voters failed to defend democracy: We never do.