Vogue is almost synonymous with its longtime editor, Anna Wintour. She talks with David Remnick about choosing a successor, and wearing Prada to the première of “The Devil Wears Prada.”

Ronan Farrow and Andrew Marantz on the rise of the C.E.O. of OpenAI, and how allegations of deceptive behavior continue to dog one of the most powerful figures in tech.

The New Yorker staff writer Louisa Thomas on the season’s biggest basketball stories.

Olga Rudenko, the editor-in-chief of the Kyiv Independent, explains how Russia is supporting Iran with drone technology, and how the worldwide shock to oil prices is helping Russia.

Troy Edwards tells Ruth Marcus why he left his senior position in the government, and what his father-in-law, James Comey, had to do with it.

The actor, who stars in the new Broadway production “Giant,” about Dahl’s fraught legacy, discusses whether we can separate the art from the artist.

Julio Torres got his big break as a writer on “Saturday Night Live,” and went on to make the cult favorites “Los Espookys” and “Fantasmas” for HBO. He also wrote and directed the film “Problemista,” about a toy designer facing deportation. There’s a particular kind of surrealism to Torres’s humor; “I just don’t think his mind works quite like anyone else’s,” the staff writer Michael Schulman says, comparing Torres to “a guest lecturer at an art school . . . laying out his very particular way of seeing the world.” They met in New York to discuss the unique, synesthetic ideas about color which Torres describes in a new HBO special, “Color Theories,” and to check out a few hues at a nearby dollar store.   Thanks to Home in Heven and Third Avenue Dollar and More.     Further reading: “The Otherworldly Comedy of Julio Torres,” by Michael Shulman   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 staff writer Jon Lee Anderson on what regime change in Cuba could look like, and the Pulitzer Prize-winner Ada Ferrer on the vexed history between the U.S. and the island.

Zhao, a previous Oscar winner, for Best Director, discusses her acclaimed film with Michael Schulman.

Jonathan Haidt, the author of “The Anxious Generation,” discusses the movement to limit social-media use among young people, including a major liability case in the California courts.

The director talks with staff writer Jelani Cobb about his movie, which has been nominated for a record-setting sixteen Academy Awards.

As the conflict rapidly spreads throughout the Middle East, the New Yorker writers Dexter Filkins and Robin Wright discuss the stakes for Iran, the U.S., and the rest of the world.

The creators of the financial drama, Mickey Down and Konrad Kay, explain what “finance bros” misunderstand about capitalism’s allure.

The foreign-policy analyst Karim Sadjadpour on what it would mean for the U.S. to pursue regime change in Iran again. And we hear from Iranians who are waiting, even hoping, for war.

Dhruv Khullar on the latest research on GLP-1 drugs, which, typically used to manage diabetes and obesity, are showing promise as groundbreaking treatments for addictions of all kinds.

The hit podcaster and host of next month’s Academy Awards ceremony on the collapse of late-night television, and the deaths of his friends Rob and Michele Reiner.

The New Yorker critics Richard Brody and Alexandra Schwartz discuss the year’s best offerings, and how films seem to be getting better these days.

The Miami Herald’s Julie K. Brown on what Trump told the Miami police, and how the latest batch of files from the D.O.J. “makes the public more distrustful.”

A First Amendment lawyer once attacked Democrats for suppressing unpopular opinions; she now sees a vastly greater threat from the Trump Administration.

The conservative podcaster sees self-dealing and conspiracy theories in the Trump Administration. Yet the left, he says, chronically underestimates its own transgressions.