The New Yorker Radio Hour

In the past few years, the comedian Nikki Glaser has breathed new life into the well-worn comedic form of the roast. Last year, she performed a roast of the football legend Tom Brady for a Netflix special, to much acclaimwith Conan OBrien opining that no one is going to do a better roast set than that. Glaser has been on a hot streak since then, hosting the Golden Globes in January and touring the country with a new show. But rising to the top of the comedy world, Glaser tells David Remnick, hasnt settled her insecurities, or her impostor syndrome. It just never goes away that feeling of not being worthy, or being thought of as less than, Glaser says. Its why, as Remnick notes, she insists on leading her set with a joke right out of the gate. Part of it is I just know that people think women arent as funny, so I have to prove it right away . . . and then, Can we all just relax and you can trust me?

New episodes of The New Yorker Radio Hour drop every Tuesday and Friday. Follow the show wherever you get your podcasts.

Elon Musk, who’s chainsawing the federal government, is not merely a chaos agent, as he is sometimes described. Jill Lepore, the best-selling author of “These Truths” and other books, says that Musk is animated by obsessions and a sense of mission he acquired through reading, and misreading, science fiction. “When he keeps saying, you know, ‘We’re at a fork in the road. The future of human civilization depends on this election,’ he means SpaceX,” she tells David Remnick. “He means . . . ‘I need to take these rockets to colonize Mars and that’s only going to happen through Trump.’ ” The massive-scale reduction in social services he is enacting through DOGE, Lepore thinks, is tied to this objective. “Although there may be billions of [people] suffering here on planet Earth today, those are miniscule compared to the calculation of the needs of the billions of humans that will one day ever live if we can gain escape velocity from planet Earth. . . . That is, in fact, the math that lies behind DOGE.” Lepore’s BBC radio series on the SpaceX C.E.O. is called “X-Man: The Elon Musk Origin Story.” Plus, an organizer of the grassroots anti-Musk effort TeslaTakedown speaks with the Radio Hour about how she got involved, and the risks  involved in doing so. that poses. “It’s a scary place we all find ourselves in,” Patty Hoyt tells the New Yorker Radio Hour producer Adam Howard. “And I won’t stop. But I am afraid.”

Ryan Coogler began his career in film as a realist with “Fruitvale Station,” which tells the story of a true-to-life tragedy about a police killing in the Bay Area. He then directed the class drama of “Creed,” a celebrated “Rocky” sequel. But then he moved to the epic fantasy of Marvel’s hit “Black Panther” movies. In his newest project, “Sinners,” Coogler continues to deal with themes of history, faith, and race, but through the lens of horror. Jelani Cobb sat down with the director to discuss setting the film in the South, the mythology of the blues, and how he made a vampire story his own. 

Ruth Marcus resigned from the Washington Post after its C.E.O. killed an editorial she wrote that was critical of the paper’s owner, Jeff Bezos. She ended up publishing the column in The New Yorker, and soon after she published another piece for the magazine asking “Has Trump’s Legal Strategy Backfired?” “Trump’s legal strategy has been backfiring, I think, demonstrably in the lower courts,” she tells David Remnick, on issues such as undoing birthright citizenship and deporting people without due process. Federal judges have rebuked the Administration’s lawyers, and ordered deportees returned to the United States. But “we have this thing called the Supreme Court, which is, in fact, supreme,” Marcus says. “I thought the Supreme Court was going to send a message to the Trump Administration: ‘Back off, guys.’ . . . That’s not what’s happened.” In recent days, that Court has issued a number of rulings that, while narrow, suggest a more deferential approach toward Presidential power. Marcus and Remnick spoke last week about where the Supreme Court—with its six-Justice conservative majority—may yield to Trump’s extraordinary exertions of power, and where it may attempt to check his authority. “When you have a six-Justice conservative majority,” she notes, there is“a justice to spare.”

Katie Kitamura’s fifth novel is “Audition,” and it focusses on a middle-aged actress and her ambiguous relationship with a much younger man. Kitamura tells the critic Jennifer Wilson that she thought for a long time about an actress as protagonist, as a way to highlight the roles women play, and to provoke questions about agency. “I teach creative writing, and in class often ... if there is a character who the group feels doesn't have agency, that is often brought up as a criticism of the character,” she tells Wilson. Other students will say, “ ‘She doesn't have any agency,’ as if a character without agency is implausible or in some way not compelling in narrative terms. But of course, the reality is very few of us have total agency. I think we operate under the illusion or the impression that we have a great deal of agency. But in reality when you look at your life, our choices are quite constricted.” 

“Audition” comes out this week.