Two of the filmmakers, Basel Adra and Yuval Abraham, discuss the challenges and the threat of violence they faced making a film about Israel’s occupation of the West Bank.

The staff writer Jelani Cobb talks about the Trump Administration’s attempts to root out policies of diversity, equity, and inclusion—which it describes as discriminatory.

The New Yorker editors Deborah Treisman and Kevin Young discuss literary anthologies published for the magazine’s centennial.

The Microsoft co-founder and public-health philanthropist discusses the future of A.I., vaccine skepticism, and the politics of technology in 2025.

The longtime staff writer Dana Goodyear talks about the devastation of the wildfires that devastated her house and thousands of other buildings in the Los Angeles area.

The New Yorker editor Susan Morrison on Lorne Michaels, the producer who still runs “S.N.L.” with an iron hand. Plus, Tina Fey reads The New Yorker’s review of the show from Season 1.

“Donald Trump is a master of picking appointees for very senior positions who never would have gotten those jobs under anyone else,” the staff writer Susan B. Glasser says.

President Biden’s long-serving Secretary of State on the crisis in Gaza, and his reason for optimism about a lasting peace in the region.

Mining for rare-earth metals has severe environmental consequences. Speaking with Elizabeth Kolbert, the journalist Vince Beiser says that the U.S. needs more of it.

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?