Podcasts about Pulitzer

The Minnesota governor warns of a national unraveling and shares the view from his state.  “ The way you win this is through nonviolence, that you cannot do violence,” Governor Tim Walz told the Atlantic staff writer Isaac Stanley-Becker in Minneapolis on Wednesday. “And I know my constituents are mad at me for saying that. They're shooting us. They're killing us. They're beating us. They're taking our children. But you see what's happening now. For all that power and all that cruelty, they are retreating massively. Now, I believe they'll only retreat far enough to get to the next day or the next news cycle. But again, they underestimated this state, and I think they're underestimating the American people. I'm still baffled—if you were gonna pick two states to mess with, Maine and Minnesota, especially in the middle of winter, not smart.” - - - Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at theAtlantic.com/listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

I ran across the bloated carcass of Jack Smith. Apparently he got ran over and left to rot in a hot Arizona desert. The House took apart his "prosecution" against Trump. We learned why Smith is a failure. Funny that people listed his credentials, and at the top of the list is Harvard grad. That used to mean something. It was like the Nobel Prize, a Pulitzer, or an Emmy. Now all those awards are meaningless.Smith couldn't prosecute a parking ticket without turning it into a conspiracy thriller starring himself as the shadowy villain. This guy's guilty as a fox in a henhouse after hours, scrambling to bury his tracks deeper than a mole with a grudge. His big brainwave? Convincing the world that Trump couldn't possibly believe his own beliefs about the election—yeah, because nothing says 'ironclad case' like policing someone's inner monologue. "Trump can't think what he thinks," Smith basically argued, as if he moonlights as a telepathic hall monitor. But reality hit him like a freight train full of subpoenas gone wrong; the whole charade crumbled faster than a sandcastle at high tide. Democrats, bless their partisan hearts, flung themselves into the fray like lemmings with law degrees, defending this hack with the fervor of someone explaining why pineapple belongs on pizza. It's a masterclass in how far they'll stretch the truth to keep their narratives afloat, all while ignoring the glaring voids in evidence that could sink a battleship. And Smith? He wasn't just grasping at straws; he was weaving them into a noose for his own credibility.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Tournament of Champions is HERE and we love to see a bunch of our faves back on the Alex Trebek Stage. John nails a bunch of his predictions (including the one about the herbal candies), we get some great sports-related anecdotes, and we see some great gameplay as we continue on with this Jeopardy! postseason. Plus, John finishes watching Heated Rivalry, Emily updates us on what fans think is an editing snafu, and we dive deep on the famous photo taken at Iwo Jima. If you want some more moments of this show that are so famous you may want to take a picture, why not join our Patreon? It's just $5/month and you'll get a new bonus episode every month including this week, as Alison Betts and Drew Goins join us to play a rock and metal music board that goes about as well as both of those J! legends think it will (badly). You also get immediate access to all of our back catalogue of bonus episodes, access to our wonderful Discord community, and MORE! Join today at patreon.com/jeopardypodcast. SOURCE: Colliers: "The Picture That Will Live Forever" by Joe Rosenthal and W.C. Heinz; Pulitzer.org: "Joe Rosenthal and the Flag-Raising on Iwo Jima" Special thank you as always to the Jeopardy! Fan and the J-Archive. This episode was produced by Producer Dan. Music by Nate Heller. Art by Max Wittert.

Inside the Front‑Line of Resistance: Photojournalist Stephanie Keith on Visual Anthropology, ICE Protests & the Power of Community Observers

A second American was shot and killed by federal agents. The Atlantic staff writer Adam Serwer joins from Minneapolis to describe what he's seen there in recent days,  describing it as a form of activism America's not seen since the 1960s—perhaps even earlier.  Serwer spent last week in Minneapolis talking to protesters. “They know that ICE has the guns. They know that if ICE kills them, this federal government will call them a terrorist and not even bother to investigate. And they're still out there. Because they feel very strongly about finding a way to nonviolently resist a federal government that has openly said it'''s there to persecute them.”  - - - Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

Originally released February 25, 2025Tom, Mickey and Jeffrey are back for a new season of Unglossy. In this compelling episode, Pulitzer Prize-winning author Mitchell S. Jackson opens up about his remarkable journey from the tough streets of Portland, Oregon, to becoming a celebrated writer and educator. Mitchell shares intimate stories of balancing street life with academics, the transformative power of writing, and the challenges of teaching during a global pandemic. He reveals how his time in prison and the long, arduous process of writing his debut novel, The Residue Years, shaped his identity and artistic vision. Alongside reflections on winning the Pulitzer and the evolving role of public intellectuals, Mitchell dives into the unexpected intersections of music, NBA fashion, and cultural narratives in his latest book, Fly: The Big Book of Basketball Fashion. Tune in for an inspiring conversation about resilience, authenticity, and the enduring art of storytelling.Unglossy is produced and distributed by Merrick Studio and hosted by Merrick Chief Creative Officer, Tom Frank, hip hop artist and founder of Pendulum Ink, Mickey Factz, and music industry veteran, Jeffrey Sledge. Tune in to hear this thought-provoking discussion on Apple Podcasts, Spotify, YouTube, or wherever you catch your podcasts. Follow us on Instagram @UnglossyPod to join the conversation and support the show at https://unglossypod.buzzsprout.com/Send us a textEveryday AI: Your daily guide to grown with Generative AICan't keep up with AI? We've got you. Everyday AI helps you keep up and get ahead.Listen on: Apple Podcasts SpotifySupport the show

Last year, there was a mass exodus of federal workers: Some were pushed out, while others left on their own. All in all, more than 300,000 Americans left government jobs. The Atlantic staff writer Franklin Foer spent months talking to dozens of them, finding out who they were, what they did, and ultimately what, as a country, we may have lost. Read Foer's full story: “The Purged.” --- Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, we're bringing you something unexpected: Lava for Good’s investigative series Earwitness will be released right here in the Bone Valley feed. You'll see it here as Bone Valley Season 4: Earwitness. The entire season will be available to Lava For Good+ subscribers on Apple Podcasts on January 28th, and everywhere you listen to podcasts on February 4th. As an introduction, Gilbert King, Pulitzer prize-winning author and host of Bone Valley, sits down for a Q&A with Earwitness host and producer, journalist Beth Shelburne, as well as Emmy award-winning filmmaker Andrew Jarecki and film producer Charlotte Kaufman to discuss Earwitness, Toforest Johnson - the man at the center of the story - as well as their recent, critically acclaimed HBO documentary The Alabama Solution. Bone Valley Season 4: Earwitness is a production of Lava for Good™ Podcasts in association with Signal Co. No1. See omnystudio.com/listener for privacy information.

Trump is headed to Davos, Switzerland to speak at the annual World Economic Forum's meeting. There will be leaders from government and business gathered. So far, this group has not been supportive of Trump's efforts to get his hands on Greenland, but Trump says Europe will not ‘push back too much' and he intends to tell anyone who disagrees with him that Denmark ‘can't protect Greenland saying, “I don't think they're gonna push back too much. We have to have it. They have to have this done.” We will talk about it with Pulitzer prize winning author and investigative journalist David Cay Johnston. The District Attorney for the city of San Francisco will stop by the show. We will ask Brooke Jenkins about crime, ICE enforcement and the challenges facing San Francisco. The Mark Thompson Show 1/20/26 Patreon subscribers are the backbone of the show! If you'd like to help, here's our Patreon Link: https://www.patreon.com/themarkthompsonshow Maybe you're more into PayPal. https://www.paypal.com/donate/?hosted_button_id=PVBS3R7KJXV24 And you'll find everything on our website: https://www.themarkthompsonshow.com

For over 30 years (since 1995) Ira Glass has been one of, if not THE voice of public radio. His show, This American Life, has won Peabody awards, the first ever audio journalism Pulitzer. And it’s also shaped generations of listeners and audio makers. As an early adopter of podcasting (2006), the show was for many a first foray into digital listening. It spawned major hits like Serial, which led to a boom in documentary podcasting. But the world of audio has changed a lot in recent years. Ira Glass shares his thoughts with Soundside. And he’s coming to the Mount Baker Theater in Bellingham this weekend (Saturday, January 24th) to share some of his secrets: the show is called “An Evening with Ira Glass: Seven Things I've Learned” Guest: Host and executive producer of This American Life, Ira Glass Related Links: Mount Baker Theatre Presents An Evening with Ira Glass: Seven Things I've Learned Ira Glass Explains Why I’m Listening to Podcasts Wrong | SubwayTakes Uncut - Youtube Ira Glass plays a nicer version of himself on the radio - NPR Thank you to the supporters of KUOW, you help make this show possible! If you want to help out, go to kuow.org/donate/soundsidenotes Soundside is a production of KUOW in Seattle, a proud member of the NPR Network.See omnystudio.com/listener for privacy information.

Learn the meaning of Carnival traditions like jab jab & stilt walking & get recs for visiting Guyana. _____________________________ Get the Monday Minute — my weekly email with 3 personal recs for travel, culture, and living beyond borders you can read in 60 seconds. _____________________________ ON THIS EPISODE: In Part 2 of this conversation, award-winning journalist Melissa Noel joins Matt to explore how diaspora stories are told—and why depth, context, and care matter. Melissa unpacks the cultural and political meaning behind Caribbean Carnival traditions, shares her personal recommendations for experiencing her home country of Guyana beyond the surface, and reflects on the impact of her Pulitzer-supported reporting on Jamaica's barrel children and the long-term impact of migration on families. From ethical considerations when interviewing vulnerable communities to the extractive dynamics of tourism and the responsibility of storytellers, this episode examines how culture, migration, and power intersect—and how travel and journalism can be practiced with intention, accountability, and respect. → Full show notes with direct links to everything discussed are available here. _____________________________FREE RESOURCES FOR YOU: See my Top 10 Apps For Digital Nomads See my Top 10 Books For Digital Nomads See my ⁠7 Keys For Building A Remote Business⁠ (Even in a space that's not traditionally virtual) Watch my ⁠Video Training on Stylish Minimalist Packing⁠ so you can join #TeamCarryOn  See the Travel Gear I Use and Recommend See How I Produce The Maverick Show Podcast (The equipment, services & vendors I use) _____________________________ ENJOYING THE SHOW? Follow The Maverick Show on Instagram and DM Matt to continue the conversation Please leave a rating and review — it really helps the show and I read each one personally You can buy me a coffee — espressos help me produce significantly better podcast episodes! :)

Tensions are high in Minneapolis this week. The Trump administration is sending more federal agents. Protesters are calling for justice for the killing of an unarmed citizen. But what could actually happen legally? Especially when the Department of Justice seems more interested in trying to open a criminal investigation into the victim's wife than the ICE officer who pulled the trigger? We talk to the legal researcher Bryna Godar about the history of prosecutions against federal agents and why they're not often successful. And we speak with the Atlantic staff writer Nick Miroff, who covers immigration, about what members of ICE are saying internally—and why they now feel more emboldened than ever. Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tune in to the DMZ America Podcast as hosts Ted Rall from the left and Scott Stantis check in with groundbreaking animated political cartoonist Mark Fiore.Mark Fiore, born 1970, is an acclaimed American political cartoonist specializing in Flash-animated editorials. Shaped by California upbringing and Idaho wilderness, he majored in political science at Colorado College, graduating in 1991 amid Dick Cheney's speech.Starting in print for The Washington Post and LA Times, Fiore joined San Jose Mercury News before pioneering online animation in the late 1990s. His cartoons appear on SFGate.com, NPR, Mother Jones, and KQED.Hailed as "the undisputed guru" by The Wall Street Journal, he won the 2010 Pulitzer—the first for non-print work—plus a 2016 Herblock Prize, 2004 RFK Award, and multiple Online Journalism honors. From San Francisco, Fiore satirizes politics via markfiore.com.Support the showThe DMZ America Podcast is recorded weekly by political cartoonists Ted Rall and Scott Stantis. Twitter/X: @scottstantis and @tedrallWeb: Rall.com

All The Drama is hosted by Jan Simpson. It is a series of deep dives into the plays that have won The Pulitzer Prize for Drama. Photo credit: Library of Congress The Pulitzer Prize for Drama: “The Time of Your Life”1940 Pulitzer winner “The Time of Your Life” by William read more

If it's not threats of military action against Colombia and Cuba, or talk of taking Greenland from Denmark, it's seizing oil tankers in European and Caribbean waters. All of it has world leaders scrambling to figure out how to handle Donald Trump's revived form of US imperialism. Jonathan Freedland speaks to the Pulitzer-winning author Anne Applebaum about what to expect from a world changing by the hour at the hands of the US president

President Donald Trump likely won't listen to this podcast, but Senator Mark Kelly of Arizona has a warning for him: Any attempt to take Greenland using military force will probably go down as the biggest mistake made by a president in all of U.S. history. In this conversation with Kelly, we discuss the impact of the censure letter against him sent by Defense Secretary Pete Hegseth, the legality of U.S. military strikes in the Caribbean, the future of the Democratic Party, and his family's response to political violence. - - - Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Pulitzer finalist and James Beard award winning journalist talks to Kate and Mark about how restaurant critics have to "split themselves"; being "accidentally anonymous" and how she became comfortable with telling that story; chasing curiosity; and how she went from a born and bred New Yorker to loving Detroit.Read Lyndsay's piece, "My year in review as Free Press restaurant critic: Accidentally anonymous," which was discussed in today's episode, at the Detroit Free Press: https://tinyurl.com/f9cp9xpbSubscribe to Food with Mark Bittman on Apple Podcasts, Spotify, or wherever you like to listen, and please help us grow by leaving us a 5 star review on Apple Podcasts.Follow Mark on Twitter at @bittman, and on Facebook and Instagram at @markbittman. Want more food content? Subscribe to The Bittman Project at www.bittmanproject.com. Hosted on Acast. See acast.com/privacy for more information.

If it's not threats of military action against Colombia and Cuba, or talk of taking Greenland from Denmark, it's seizing oil tankers in European and Caribbean waters. All of it has world leaders scrambling to figure out how to handle Donald Trump's revived form of US imperialism. Jonathan Freedland speaks to the Pulitzer-winning author Anne Applebaum about what to expect from a world changing by the hour at the hands of the US president

After the Venezuelan leader Nicolás Maduro and his wife were captured by U.S. forces over the weekend, President Donald Trump announced that America would now “run” Venezuela. Staff writers Vivian Salama and Michael Scherer break down what might happen next—and what Trump told The Atlantic the day after the capture. --- Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

In July, we published a series of stories about San Francisco's attempt to address a crisis unfolding on the city's streets. We followed Evan, who had been homeless for years, as he sought an escape from the addiction that was threatening his life. Four months later, we check in on how he's doing. Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textThis episode of our podcast is a tribute for a giant figure in the history of North Carolina. Governor Jim Hunt served for 16 years and he led the way in education reform in our region of the country. The modern North Carolina owes much to his leadership in the state. It also is a tribute to one of the great reporter of our time, journalist Peter Arnett. He had a distinctive voice that you recognized from the moment he spoke his first words in any report. He was on the front lines of war zones, revolutions, and manhunts all over the world from war torn regions of the Middle East, to Africa, South America, and Europe. He won two Pulitzer prizes. He passed away at age 90. This episode is also dedicated to three friends:  Dr. Fred Paul Norman, who helped me lose 100lbs and is the founder of the Myrtle Beach Diet Center in the community where we record these shows, Gerry McDaniel who was an activist in our community for years and former Vice President Dick Cheney who we forgot to mention in our 2025 wrap up episode despite having done two shows when he passed away earlier this year.  Questions or comments at , Randalrgw1@aol.com , https://twitter.com/randal_wallace , and http://www.randalwallace.com/Please Leave us a review at wherever you get your podcastsThanks for listening!!

123025 Scott Adams Show, Nick Shirley Pulitzer Worthy Expose of Somali Fraud in MN

On April Fools Day 1999, 26-year-old Yvonne Layne was found murdered in her Alliance, Ohio home. David Thorne, her ex-boyfriend and father of one of her children, was instantly a suspect. Another young man admitted to the murder,  and David breathed a sigh of relief, until the confessed murderer fingered David; “He paid me to do it.”  David was sentenced to life without parole. Two decades later, Pulitzer winner and podcast host, Maggie Freleng (Bone Valley Season 3: Graves County, Wrongful Conviction, Suave) launched a “live” investigation into David's conviction alongside Jason Baldwin (himself wrongfully convicted as a member of the West Memphis Three). Maggie had come to believe that the entire investigation of David was botched by the tiny local police department, or worse, covered up the real killer. Was Maggie correct? Was David's claim of innocence credible? In Death and Deceit in Alliance, Maggie recounts the case that launched her career, and ultimately, “broke” her.”  New episodes of Death and Deceit in Alliance will be available every Tuesday and Friday starting on December 2 wherever you get your podcasts. To binge the entire season, ad-free, subscribe to True Crime Clubhouse on Apple podcasts.

It was a great year for Warner Bros. Discovery: Two of its movies (One Battle After Another and Sinners) are front-runners for the Academy Award for Best Picture, and it had a string of critical hits and box-office successes with Superman, Weapons, and A Minecraft Movie. But despite those wins, the media conglomerate—which also owns HBO and CNN—found itself up for auction with two aggressive bidders: Paramount and Netflix. The Atlantic movie critic David Sims explains why this deal could be bad for the movies. And our staff writer Frank Foer lays out why this deal could be bad for democracy—especially if President Donald Trump gets involved. --- Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

Robert Frost, the only poet ever to receive four Pulitzer prize awards, joined Meet the Press on Christmas Day 1955 and was asked which of his poems best captured the spirit of America. The full episode on video is available on MeetThePress.com. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Will the supreme egoist be snared by his thirst for vainglory? Could the board of the Pulitzer Prize take Trump down? After deranged Donald picked a fight with the board, the Pulitzer lawyers demanded info that he would prefer to keep hidden. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Send us a textIn this episode, I chat with author and Pulitzer Prize-winning journalist Mirta Ojito about her novel Deeper Than The Ocean. This book is one of my top reads of 2026!A century-old shipwreck with no survivors. A journalist haunted by dreams. A family secret whispered across oceans. Mirta Ojito shares the real history behind Deeper Than the Ocean and the intimate choices that make a sweeping story feel startlingly close.Ojito takes us from Spain to La Palma in the Canary Islands, to Cuba, and to Florida, tracing the hidden currents that shaped migration from 1919 to today. She opens the archive on the Valbanera, the “poor man's Titanic,” and shares how one chance encounter with a Spanish-language book in Key West became the seed for a dual-timeline novel. We explore Spain's post–World War I turmoil, the Spanish flu's shadow, and why economic windfalls can deepen inequality when systems fail. Along the way, silk traditions, natural dyes, and island geography anchor the narrative in physical detail that lets history breathe.We also talk about craft and conscience. As a newsroom standards leader and Pulitzer-winning reporter, Ojito explains how trust is built word by word, why details matter, and how to tell the truth without exploiting suffering. Her fiction draws on lived experience—from the Mariel boatlift to the tenderness and terror of motherhood—and on the unsettling idea that trauma can cross generations. The result is a story about courage, belonging, and the complicated love we carry for places we cannot return to, and places that no longer exist.If you're drawn to literary fiction rooted in real events, migration history, and ethical storytelling, this conversation will stay with you. Listen, then share your answer: what does home mean when it spans more than one shore? Subscribe for more author interviews, leave a quick review to help new listeners find us, and pass this episode to a friend who needs a powerful story today.Mirta OjitoDeeper Than The Ocean, Mirta OjitoSupport the showThe Bookshop PodcastMandy Jackson-BeverlySocial Media Links

European Union leaders hold high-stakes negotiations over whether to use frozen Russian assets to help Ukraine's war effort. Belgium - where most of the assets are held - is under pressure to drop its opposition. Without the funds, the Ukrainian president Volodymyr Zelensky said his country's drone production would have to be cut. Also: power cuts in major cities in Sudan are blamed on drone attacks by the paramilitary Rapid Support Forces. A French doctor is jailed for life for poisoning dozens of patients. Peter Arnett, the Pulitzer prize-winning war reporter, dies at the age of 91. And FIFA links up with Netflix to launch a new football game, which won't need a console.The Global News Podcast brings you the breaking news you need to hear, as it happens. Listen for the latest headlines and current affairs from around the world. Politics, economics, climate, business, technology, health – we cover it all with expert analysis and insight. Get the news that matters, delivered twice a day on weekdays and daily at weekends, plus special bonus episodes reacting to urgent breaking stories. Follow or subscribe now and never miss a moment. Get in touch: globalpodcast@bbc.co.uk

More than a decade after its peak, the Islamic State has changed, but it isn't defeated. This past weekend, the jihadist group reemerged in connection with two disparate acts of violence thousands of miles apart.  Two U.S. soldiers and a civilian interpreter were killed in Syria by a man the Pentagon says is affiliated with ISIS. A day later, at Bondi Beach in Sydney, Australia, two men opened fire at a Hanukkah celebration, killing 15 and wounding dozens. The men had homemade ISIS flags in their car, and had recently traveled to an area in the Philippines where ISIS-affiliated groups are known to still be active. Are these incidents connected? And do they point to a group that's evolving? Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pulitzer nominated Author Timothy Gay joins Eoin Sheehan to discuss his new book: 'Rory Land: The Up-and-Down World of Golf's Global Icon' in which he analyses the career ups and downs of Grand Slam Major-winning Professional Golfer Rory McIlroy

In this episode, Jeremy sits down with Chris Willis to explore what it really means to stay curious as a leader in a world shaped by AI, data, and constant change. Chris shares his unconventional journey—from editorial cartoonist and Pulitzer-winning newsrooms to startups, design, and speaking on AI—revealing why the most valuable leaders aren't the ones with linear paths, but the ones willing to learn from anyone, anywhere. They talk about humility as a leadership advantage, building trust inside teams, and why creative thinking still matters more than ever in a data-driven world. This conversation is about seeing opportunities others miss, choosing the right rooms to grow in, and understanding that learning never stops—no matter how experienced you are. If you're building, leading, or rethinking what leadership looks like in the age of AI, this episode will change how you see your own path.

The Stringer Documentary & the Napalm Girl Mystery – A Deep Dive into Photojournalism Controversy Published on 10 Frames Per Second Blog – Your go‑to source for photojournalism insight Table of Contents What Is The Stringer? Meet the Key Players – Gary Knight & Bao Nguyen Why the Napalm Girl Photo Matters Forensic Evidence: The Road‑Testing of the Iconic Shot Industry Reaction – Backlash, Bans, and the “Wagon‑Circling” Culture The Hidden History of Vietnamese & Local Freelance Photographers How to Watch The Stringer and Join the Conversation Takeaway: What This Means for Photojournalism Today 1. What Is The Stringer? The Stringer is a newly released documentary (Netflix, 2024) that investigates the authorship of the world‑famous “Napalm Girl” photograph taken in Vietnam, 1972. Core premise: The film follows journalist Gary Knight and director Bao Nguyen as they trace a decades‑old secret held by a Vietnamese stringer‑photographer, Nguyễn Thành Nghệ (Wintan Nei). Format: A blend of on‑the‑ground interviews, archival footage, and forensic road‑testing that reconstructs the exact location, timing, and line‑of‑sight of the iconic image. Why it matters: The image is one of the most published photographs in history and is universally credited to Associated Press staff photographer Nick Ut. The documentary questions that credit, shaking a cornerstone of photojournalistic mythology. 2. Meet the Key Players – Gary Knight & Bao Nguyen Person Role Why They're Important Gary Knight Founder of the VII Foundation, mentor, and documentary “connective tissue.” Provides insider knowledge of the photojournalism world, contacts, and credibility that anchors the investigation. Bao Nguyen Director of The Stringer Chose to frame the story as a journey, not just a series of talking‑heads, and insisted on a central narrator (Gary) to guide viewers. Carl Robinson Former AP Vietnamese‑language photo editor (local hire). His 2022 email sparked the whole investigation; his memories and documents are a primary source. Horst Fass Senior AP photographer in Vietnam (the “gatekeeper” of the image). His decision to run the picture on the wire is central to the credit controversy. Nguyễn Thành Nghệ (Wintan Nei) Vietnamese stringer who claimed to have taken the shot. The film's “secret” – his testimony and forensic evidence challenge the accepted narrative. Nick Ut AP staff photographer historically credited for the photo. The focal point of the debate; his name appears on every caption of the image. 3. Why the Napalm Girl Photo Matters Iconic status: Frequently cited in textbooks, museums, and peace‑activist campaigns. Cultural impact: Symbolizes the horrors of the Vietnam War and the power of visual storytelling. Professional legacy: The credit has shaped career trajectories, awards (Pulitzer, etc.), and AP's brand. If the credit shifts, we must reconsider how many other war‑zone images were attributed, potentially rewriting a large part of photojournalism history. 4. Forensic Evidence: The Road‑Testing of the Iconic Shot The documentary's most compelling section is the road‑forensics – a scientific recreation of the moment the photo was taken. Methodology: Researchers drove the exact route described by Wintan Nei, measuring distances, angles, and terrain features. Key Findings: Line‑of‑sight analysis shows the photographer would have been ~150 meters from the burning road—far beyond the reach of a 35 mm lens used by Ut. Shadow & lighting study matches the sun angle on July 29, 1972, which aligns with Wintan Nei's timeline, not Ut's. Camera metadata (Pentax vs. Nikon) – expert testimony confirms Ut's camera was not a Pentax, the model allegedly used by Wintan Nei. Independent verification: World Press Photo hired a former Bellingcat investigator, and INDEX a Paris-based research group. French photographer Tristan da Cunha corroborated the forensic report.  Cunha also worked with AD Coleman on his Robert Capa investigation (Ep. 35) These data points form the strongest case in the film that Nick Ut did not take the photograph. 5. Industry Reaction – Backlash, Bans, and the “Wagon‑Circling” Culture Immediate pushback: Numerous journalists launched letter‑writing campaigns to film festivals and employers, asking for the documentary to be removed. Attempted bans: Some media outlets threatened to fire staff who publicly supported the film. Defensive stance: Many veteran photographers argued that the film attacks “iconic” heroes and undermines the profession's reputation. Key quote from Gary Knight: “Journalists don't ban books or films they haven't read. Our job is to investigate, not to protect mythologies.” The controversy illustrates the “wagon‑circling” phenomenon—protecting revered figures at the expense of truth. 6. The Hidden History of Vietnamese & Local Freelance Photographers The documentary spotlights a systemic issue: local photographers' contributions have been consistently erased. No Vietnamese names appear in a May 1975 Time editorial thank‑you list, despite hundreds of local staff. Many local photographers sold film to AP, NBC, or CBS, but credits always went to Western staff. Examples of overlooked talent: Dang Van Phuoc – AP's most prolific photographer during the war (lost an eye in the field) *needs his own wikipedia entry. Catherine Leroy, Francoise Demulder, Kate Webb – Women who covered Vietnam but remain under‑recognized. Result: A distorted, Western‑centric narrative of war photography that marginalizes the very people who captured the ground truth. 7. How to Watch The Stringer and Join the Conversation Platform Availability Tips Netflix Global (over 100 countries) Use the search term “The Stringer”; enable subtitles for multilingual audiences. Film festivals Sundance 2024 (screened), Frontline Club (London) Look for Q&A sessions with Gary Knight or Bao Nguyen. Social media #TheStringer on Twitter, Instagram, and Facebook Follow the hashtag for updates, behind‑the‑scenes clips, and scholarly debate. What you can do: Read the forensic report (available on the Seven Foundation website). Share the story with your photography community to spark discussions on credit attribution. Support local photographers by following their work on platforms like Vietnam Photo Archive or Fotodoc Center. 8. Takeaway: What This Means for Photojournalism Today Transparency is essential. Photo agencies must disclose the full chain of custody for images, especially in conflict zones. Credit deserves rigorous verification. The Napalm Girl case shows that even decades later, new evidence can overturn long‑standing attributions. Elevate local voices. Recognizing Vietnamese, Cambodian, Bosnian, Serbian, Ukrainian, and other native photographers enriches the historical record and promotes equity. Forensic tools are now part of journalism. Road‑testing, GIS mapping, and metadata analysis are valuable assets for future investigations. Bottom line: The Stringer isn't just a documentary—it's a catalyst urging the photojournalism community to re‑examine its myths, honor the unsung creators, and adopt a more accountable, data‑driven approach to storytelling.

Mongabay senior editor Philip Jacobson joins Mongabay's podcast to discuss a two-part investigation published this year in collaboration with the Pulitzer Center about how state governments in Brazil have been procuring shark meat — which is high in mercury and arsenic — served to potentially millions of schoolchildren and thousands of public institutions. With Mongabay's Karla Mendes and Pulitzer's Kuang Keng Kuek Ser, Jacobson spent a year digging into public databases of government shark meat orders, called tenders.  "It's quite widespread," Jacobson says. "We found shark meat tenders in 10 states and shark meat being served or being procured for more than 500 municipalities." Government nutritionists were also found to be recommending shark meat for school lunches because it has no bones, and even when one school official raised concerns about heavy metal contamination in the meat, her concerns were not heeded. Critics' concerns extend beyond vulnerable populations like schoolkids, too, since shark is also on the menus of public institutions like homeless shelters, maternity wards and elder care centers. But since the investigation was released, one lawmaker has called for a parliamentary hearing to discuss the findings. The Mongabay Newscast is available on all major podcast platforms, including Apple and Spotify, and previous episodes are also accessible at our website's podcast page. Please take a minute to let us know what you think of our podcast, here. Image Credit: A blue shark (Prionace glauca). Image courtesy of Ellen Cuylaerts/Ocean Image Bank. —- Timecodes (00:00) Millions of Brazilians fed shark meat (12:33) Impacts from Mongabay's investigation (24:29) Marine related issues flying under the radar (27:13) Why Phil chose investigative reporting (32:40) The GIJN conference

“Taking down sacred cows” has never really been our thing here, but we'll happily make an exception for the David O. Selznick-produced adaptation of Margaret Mitchell's bestselling valentine to the Antebellum South, one of the most commercially successful and critically acclaimed movies of all time, a vile work of racist propaganda and misogyny. Cultural critic and Pulitzer finalist Soraya Nadia McDonald joins in the fun!Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

All The Drama is hosted by Jan Simpson. It is a series of deep dives into the plays that have won The Pulitzer Prize for Drama. The Pulitzer Prize for Drama: “Hamilton”2016 Pulitzer winner “Hamilton” by Lin-Manuel Miranda Hamilton Wikipedia pagehttps://wikipedia.org/wiki/Hamilton_(musical) Lin-Manuel Miranda Wikipedia pagehttps://wikipedia.org/wiki/Lin-Manuel_Miranda Lin-Manuel Miranda: The Education of read more

Alvin and Special guest, Pulitzer prize winning journalist, Maggie Freeleng delve into the complexities of the Bone Valley season 3 case, exploring themes of wrongful conviction, the role of citizen detectives, and the emotional toll on victims and their families. They discuss the impact of media on justice narratives and the racial dynamics within the criminal justice system. Maggie shares updates on Quincy Cross's case and reflects on the importance of integrity in storytelling, emphasizing the need for truthful narratives in the face of systemic failures. Catch up on Bone Valley and all the latest from Graves County HERE! Learn more about your ad choices. Visit podcastchoices.com/adchoices

A young Chicago couple—one is an undocumented immigrant from Poland, and the other is a U.S. citizen—face a choice: stay in the place they've called home—or give up on the place that doesn't seem to want them anymore. --- Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Subscribe today at TheAtlantic.com/listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

Children as young as 12 can legally work on California's farms, picking strawberries and pruning blueberry bushes along with a host of other physically demanding jobs. Pulitzer prize-winning journalist Robert J. Lopez spoke with 61 children who work in the fields of the Salinas, Santa Maria, San Joaquin and Pajaro valleys. They described unsafe and unsanitary conditions, extreme heat — and a fear of speaking up, because they can't afford to lose their jobs. Lopez reports that in California, “enforcement of child labor laws has been inconsistent, the number of workplace safety inspections and citations issued to employers have dropped and repeat offenders were not fined for hundreds of violations of pesticide safety laws.” He joins us to share his reporting, and how the state is responding to it. Guests: Erica Diaz-Cervantes, senior policy advocate, Central Coast Alliance United for a Sustainable Economy (CAUSE) - an organization committed to social, economic, and environmental justice for working-class and immigrant communities in California's Central Coast; former underage farmworker Robert J. Lopez, Pulitzer prize-winning independent journalist, and fellow at the McGraw Center for Business Journalism; his reporting is titled “California's child farmworkers: Exhausted, underpaid and toiling in toxic fields” and “Lax oversight, few inspections leave child farmworkers exposed to toxic pesticides” Learn more about your ad choices. Visit megaphone.fm/adchoices

The Author Events Series presents Carol Leonnig and Aaron C. Davis | Injustice: How Politics and Fear Vanquished America's Justice Department In Conversation with Ankush Khardori Throughout his first administration, Trump did more than any other president to politicize the nation's top law enforcement agency, pressuring appointees to shield him, to target his enemies, and even to help him cling to power after his 2020 election defeat. The department, pressed into a defensive crouch, has never fully recovered. Injustice exposes not only the Trump administration's efforts to undermine the department at every turn but also how delays in investigating Trump's effort to overturn the will of voters under Attorney General Merrick Garland helped prevent the country from holding Trump accountable and enabled his return to power. With never-before-told accounts, Carol Leonnig and Aaron C. Davis take readers inside as prosecutors convulsed over Trump's disdain for the rule of law, and FBI agents, the department's storied investigators, at times retreated in fear. They take you to the rooms where Special Counsel Jack Smith's team set off on an all-but-impossible race to investigate Trump for absconding with classified documents and waging an assault on democracy-and inside his prosecution's heroic and fateful choices that ultimately backfired. With a plethora of sources deeply embedded in the ranks of three presidencies, Leonnig and Davis reveal the daily war secretly waged for the soul of the department, how it has been shredded by propaganda and partisanship, and how-if the United States hopes to live on with its same form of government-Trump's war with the Justice Department will mark a turning point from which it will be hard to recover. Injustice is the jaw-dropping account of partisans and enablers undoing democracy, heroes still battling to preserve a nation governed by laws, and a call to action for those who believe in liberty and justice for all. Carol Leonnig, a five-time winner of the Pulitzer Prize, is the author of three bestselling books and an investigative reporter who has worked at The Washington Post for the last twenty-five years. She won the 2015 Pulitzer Prize for her reporting on security failures by the Secret Service. She also was part of Post teams awarded Pulitzers in 2024, 2022, 2018, and 2014. Leonnig, a contributor to MSNBC, is the author of Zero Fail and coauthor of A Very Stable Genius and I Alone Can Fix It. Aaron C. Davis is an investigative reporter for The Washington Post who has won the Pulitzer Prize twice and has been a finalist three times. He was a lead writer and reporter on the Post's investigative series into the January 6 attack, which won the George Polk Award, the Toner Prize, and, with other Post coverage, the 2022 Pulitzer Prize for Public Service. In 2018, he was part of a Post team that won the Pulitzer for Investigative Reporting. Davis has reported from fourteen countries. He began at The Washington Post in 2008, after reporting for the Associated Press, The Mercury News, and Florida Today. Ankush Khardori is based in Washington, D.C. and a senior writer for Politico Magazine, where he writes a column and features about national legal issues. Because you love Author Events, please make a donation when you register for this event to ensure that this series continues to inspire Philadelphians. Books will be available for purchase at the library on event night! All tickets are non-refundable. (recorded 11/13/2025)

In this Write Big session of the #amwriting podcast, host Jennie Nash welcomes Pulitzer Prize–winning journalist Jennifer Senior for a powerful conversation about finding, knowing, and claiming your voice.Jennifer shares how a medication once stripped away her ability to think in metaphor—the very heart of her writing—and what it was like to get that voice back. She and Jennie talk about how voice strengthens over time, why confidence and ruthless editing matter, and what it feels like when you're truly writing in flow.It's an inspiring reminder that your voice is your greatest strength—and worth honoring every time you sit down to write.TRANSCRIPT BELOW!THINGS MENTIONED IN THIS PODCAST:* Jennifer's Fresh Air interview with Terry Gross: Can't Sleep? You're Not Alone* Atlantic feature story: What Bobby McIlvaine Left Behind* Atlantic feature story: The Ones We Sent Away* Atlantic feature story: It's Your Friends Who Break Your Heart* The New York Times article: Happiness Won't Save You* Heavyweight the podcastSPONSORSHIP MESSAGEHey, it's Jennie Nash. And at Author Accelerator, we believe that the skills required to become a great book coach and build a successful book coaching business can be taught to people who come from all kinds of backgrounds and who bring all kinds of experiences to the work. But we also know that there are certain core characteristics that our most successful book coaches share. If you've been curious about becoming a book coach, and 2026 might be the year for you, come take our quiz to see how many of those core characteristics you have. You can find it at bookcoaches.com/characteristics-quiz.EPISODE TRANSCRIPTJennie NashHi, I'm Jennie Nash, and you're listening to the Hashtag AmWriting Podcast. This is a Write Big Session, where I'm bringing you short episodes about the mindset shifts that help you stop playing small and write like it matters. This one might not actually be that short, because today I'm talking to journalist Jennifer Senior about the idea of finding and knowing and claiming your voice—a rather big part of writing big. Jennifer Senior is a staff writer at The Atlantic. She won the Pulitzer Prize for feature writing in 2022 and was a finalist again in 2024. Before that, she spent five years at The New York Times as both a daily book critic and a columnist for the opinion page, and nearly two decades at New York Magazine. She's also the author of a bestselling parenting book, and frequently appears on NPR and other news shows. Welcome, Jennifer. Thanks for joining us.Jennifer SeniorThank you for having me. Hey, I got to clarify just one thing.Jennie NashOh, no.Jennifer SeniorAll Joy and No Fun is by no means a parenting book. I can't tell you the first thing about how to raise your kids. It is all about how kids change their parents. It's all like a sociological look at who we become and why we are—so our lives become so vexed. I like, I would do these book talks, and at the end, everybody would raise their hand and be like, “How do I get my kid into Harvard?” You know, like, the equivalent obviously—they wouldn't say it that way. I'd be like; I don't really have any idea, or how to get your kid to eat vegetables, or how to get your kid to, like, stop talking back. But anyway, I just have to clarify that, because every time...Jennie NashPlease, please—Jennifer SeniorSomeone says that, I'm like, “Noooo.” Anyway, it's a sociology book. Ah, it's an ethnography, you know. But anyway, it doesn't matter.Jennie NashAll right, like she said, you guys—not what I said.Jennifer SeniorI'm not correcting you. It came out 11 years ago. There were no iPads then, or social media. I mean, forget it. It's so dated anyway. But like, I just...Jennie NashThat's so funny. So the reason that we're speaking is that I heard you recently on Fresh Air with Terry Gross, where you were talking about an Atlantic feature story that you wrote called “Why Can't Americans Sleep?” And this was obviously a reported piece, but also a really personal piece and you're talking about your futile attempts to fall asleep and the latest research into insomnia and medication and therapy that you used to treat it, and we'll link to that article and interview in the show notes. But the reason that we're talking, and that in the middle of this conversation, which—which I'm listening to and I'm riveted by—you made this comment, and it was a little bit of a throwaway comment in the conversation, and, you know, then the conversation moved on. But you talked about how you were taking a particular antidepressant you'd been prescribed, and this was the quote you said: “It blew out all the circuitry that was responsible for generating metaphors, which is what I do as a writer. So it made my writing really flat.” And I was just like, hold up. What was that like? What happened? What—everything? So that's why we're talking. So… can we go back to the very beginning? If you can remember—Jess Lahey actually told me that when she was teaching fifth and sixth grade, that's around the time that kids begin to grasp this idea of figurative language and metaphor and such. Do you remember learning how to write like that, like write in metaphor and simile and all such things?Jennifer SeniorOh, that's funny. Do I remember it? I remember them starting to sort of come unbidden in my—like they would come unbidden in my head starting maybe in my—the minute I entered college, or maybe in my teens. Actually, I had that thing where some people have this—people who become writers have, like, a narrator's voice in their head where they're actually looking at things and describing them in the third person. They're writing them as they witness the world. That went away, that narrator's voice, which I also find sort of fascinating. But, like, I would say that it sort of emerged concurrently. I guess I was scribbling a little bit of, like, short story stuff, or I tried at least one when I was a senior in high school. So that was the first time maybe that, like, I started realizing that I had a flair for it. I also—once I noticed that, I know in college I would make, you know, when I started writing for the alternative weekly and I was reviewing things, particularly theater, I would make a conscientious effort to come up with good metaphors, and, like, 50% of them worked and 50% of them didn't, because if you ever labor over a metaphor, there's a much lower chance of it working. I mean, if you come—if you revisit it and go, oh, that's not—you know, that you can tell if it's too precious. But now if I labor over a metaphor, I don't bother. I stop. You know, it has to come instantaneously or...Jennie NashOr that reminds me of people who write with the thesaurus open, like that's going to be good, right? That's not going to work. So I want to stick with this, you know, so that they come into your head, you recognize that, and just this idea of knowing, back in the day, that you could write like that—you… this was a thing you had, like you used the word “flair,” like had a flair for this. Were there other signs or things that led you to the work, like knowing you were good, or knowing when something was on the page that it was right, like, what—what is that?Jennifer SeniorIt's that feeling of exhilaration, but it's also that feeling of total bewilderment, like you've been struck by something—something just blew through you and you had nothing to do with it. I mean, it's the cliché: here I am saying the metaphors are my superpower, which my editors were telling me, and I'm about to use a cliché, which is that you feel like you're a conduit for something and you have absolutely nothing to do with it. So I would have that sense that it had almost come without conscious thought. That was sort of when I knew it was working. It's also part of being in a flow state. It's when you're losing track of time and you're just in it. And the metaphors are—yeah, they're effortless. By the way, my brain is not entirely fogged in from long COVID, but I have noticed—and at first I didn't really notice any decrements in cognition—but recently, I have. So I'm wondering now if I'm having problems with spontaneous metaphor generation. It's a little bit disconcerting. And I do feel like all SSRIs—and I'm taking one now, just because, not just because long COVID is depressing, but because I have POTS, which is like a—it's Postural Orthostatic Tachycardia Syndrome, and that's a very common sequela from long COVID, and it wipes out your plasma serotonin. So we have to take one anyway, we POTS patients. So I found that nicotine often helped with my long COVID, which is a thing—like a nicotine patch—and that made up for it. It almost felt like I was doping [laughing]. It made my writing so much better. But it's been...Jennie NashWait, wait, wait, this is so interesting.Jennifer SeniorI know…it's really weird. I would never have guessed that so much of my writing would be dampened by Big Pharma. I mean—but now with the nicotine patches, I was like, oh, now I get why writers are smoking until into the night, writing. Like, I mean, and I always wished that I did, just because it looked cool, you know? I could have just been one of those people with their Gitanes, or however you pronounce it, but, yeah.Jennie NashWow. So I want to come—I want to circle back to this in a minute, but let's get to the first time—well, it sounds like the first time that happened where you were prescribed an antidepressant and—and you recognized that you lost the ability to write in metaphor. Can you talk about—well, first of all, can you tell us what the medication was?Jennifer SeniorYeah, it was Paxil, which is actually notorious for that. And at the top—which I only subsequently discovered—those were in the days where there were no such things as Reddit threads or anything like that. It was 1999… I guess, no, eight, but so really early. That was the bespoke antidepressant at the time, thought to be more nuanced. I think it's now fallen out of favor, because it's also a b***h to wean off of. But it was kind of awful, just—I would think, and nothing would come. It was the strangest thing. For—there's all this static electricity usually when you write, right? And there's a lot of free associating that goes on that, again, feels a little involuntary. You know, you start thinking—it's like you've pulled back the spring in the pinball machine, and suddenly the thing is just bouncing around everywhere, and the ball wasn't bouncing around. Nothing was lighting up. It was like a dis… it just was strange, to be able to summon nothing.Jennie NashWow. So you—you just used this killer metaphor to describe that.Jennifer SeniorYeah, that was spontaneous.Jennie NashRight? So—so you said first, you said static, static energy, which—which is interesting.Jennifer SeniorYeah, it's... [buzzing sound]Jennie NashYeah. Yeah. Because it's noisy. You're talking about...Jennie SeniorOh, but it's not disruptive noise. Sorry, that might seem like it's like unwanted crackling, like on your television. I didn't really—yeah, maybe that's the wrong metaphor, actually, maybe the pinball is sort of better, that all you need is to, you know, psych yourself up, sit down, have your caffeine, and then bam, you know? But I didn't mean static in that way.Jennie NashI understood what you meant. There's like a buzzy energy.Jennifer SeniorYeah, right. It's fizz.Jennie NashFizz... that's so good. So you—you recognized that this was gone.Jennifer SeniorSo gone! Like the TV was off, you know?Jennie NashAnd did you...?Jennifer SeniorOr the machine, you know, was unplugged? I mean, it's—Jennie NashYeah, and did you? I'm just so curious about the part of your brain that was watching another part of your brain.Jennifer Senior[Laughing] You know what? I think... oh, that's really interesting. But are you watching, or are you just despairing because there's nothing—I mean, I'm trying to think if that's the right...Jennie NashBut there's a part of your brain that's like, this part of my brain isn't working.Jennifer SeniorRight. I'm just thinking how much metacognition is involved in— I mean, if you forget a word, are you really, like, staring at that very hard, or are you just like, s**t, what's the word? If you're staring at Jack Nicholson on TV, and you're like, why can't I remember that dude's name?Multiple speakers[Both laughing]Jennifer SeniorWhich happens to me far more regularly now, [unintelligible]… than it used to, you know? I mean, I don't know. There is a part of you that's completely alarmed, but, like, I guess you're right. There did come a point where I—you're right, where I suddenly realized, oh, there's just been a total breakdown here. It's never happening. Like, what is going on? Also, you know what would happen? Every sentence was a grind, like...Jennie NashOkay, so—okay, so...Jennifer Senior[Unintelligible]... Why is this so effortful? When you can't hold the previous sentence in your head, suddenly there's been this lapse in voice, right? Because, like, if every sentence is an effort and you're starting from nothing again, there's no continuity in how you sound. So, I mean, it was really dreadful. And by the way, if I can just say one thing, sorry now that—Jennie NashNo, I love it!Jennifer SeniorYeah. Sorry. I'm just—now you really got me going. I'm just like, yeah, I know. I'm sort of on a tear and a partial rant, which is Prozac—there came a point where, like, every single SSRI was too activating for me to sleep. But it was, of course, a problem, because being sleepless makes you depressed, so you need something to get at your depression. And SNRIs, like the Effexor's and the Cymbalta's, are out of the question, because those are known to be activating. So I kept vainly searching for SSRIs, and Prozac was the only one that didn't—that wound up not being terribly activating, besides Paxil, but it, too, was somewhat deadening, and I wrote my whole book on it.Jennie NashWow!Jennifer SeniorIt's not all metaphor.Multiple Speakers[both laughing]Jennifer SeniorIt's not all me and no—nothing memorable, you know? I mean, it's—it's kind of a problem. It was—I can't really bear to go back and look at it.Jennie NashWow.Jennie NashSo—so the feeling...Jennifer SeniorI'm really giving my book the hard sell, like it's really a B plus in terms of its pro…—I mean, you know, it wasn't.Jennie NashSo you—you—you recognize its happening, and what you recognize is a lack of fizzy, buzzy energy and a lack of flow. So I just have to ask now, presumably—well, there's long COVID now, but when you don't have—when you're writing in your full powers, do you—is it always in a state of flow? Like, if you're not in a state of flow, do you get up and go do something else? Like, what—how does that function in the life of a writer on a deadline?Jennifer SeniorOK. Well, am I always in a state of flow? No! I mean, flow is not—I don't know anyone who's good at something who just immediately can be in flow every time.Jennie NashYeah.Jennifer SeniorIt's still magic when it happens. You know, when I was in flow almost out of the gate every day—the McIlvaine stories—like, I knew when I hit send, this thing is damn good. I knew when I hit send on a piece that was not as well read, but is like my second or third favorite story. I wrote something for The New York Times called “Happiness Wont Save You,” about a pioneer in—he wrote one of the foundational studies in positive psychology about lottery winners and paraplegics, and how lottery winners are pretty much no happier than random controls found in a phone book, and paraplegics are much less unhappy than you might think, compared to controls. It was really poorly designed. It would never withstand the scrutiny of peer review today. But anyway, this guy was, like, a very innovative thinker. His name was Philip Brickman, and in 1982 at 38 years old, he climbed—he got—went—he found his way to the roof of the tallest building in Ann Arbor and jumped, and took his own life. And I was in flow pretty much throughout writing that one too.Jennie NashWow. So the piece you're referring to, that you referred to previous to that, is What Bobby McIlvaine Left Behind, which was a feature story in The Atlantic. It's the one you won the—Pul…Pulitzer for? It's now made into a book. It has, like...Jennifer SeniorAlthough all it is like, you know, the story between...Jennie NashCovers, right?Jennifer SeniorYeah. Yeah. Because—yeah, yeah.Jennie NashBut—Jennifer SeniorWhich is great, because then people can have it, rather than look at it online, which—and it goes on forever—so yeah.Jennie NashSo this is a piece—the subtitle is Grief, Conspiracy Theories, and One Family's Search for Meaning in the Two Decades Since 9/11—and I actually pulled a couple of metaphors from that piece, because I re-read it knowing I was going to speak to you… and I mean, it was just so beautifully written. It's—it's so beautifully structured, everything, everything. But here's a couple of examples for our listeners. You're describing Bobby, who was a 26-year-old who died in 9/11, who was your brother's college roommate.Jennifer SeniorAnd at that young adult—they—you can't afford New York. They were living together for eight years. It was four in college, and four—Jennie NashWow.Jennifer SeniorIn New York City. They had a two-bedroom... yeah, in a cheaper part... well, to the extent that there are cheaper parts in...Jennie NashYeah.Jennifer SeniorThe way over near York Avenue, east side, yeah.Jennie NashSo you write, “When he smiled, it looked for all the world like he'd swallowed the moon.” And you wrote, “But for all Bobby's hunger and swagger, what he mainly exuded, even during his college years, was warmth, decency, a corkscrew quirkiness.” So just that kind of language—a corkscrew quirkiness, like he'd swallowed the moon—that, it's that the piece is full of that. So that's interesting, that you felt in flow with this other piece you described and this one. So how would you describe—so you describe metaphors as things that just come—it just—it just happens. You're not forcing it—you can't force it. Do you think that's true of whatever this ineffable thing of voice—voices—as well?Jennifer SeniorOh, that's a good question. My voice got more distinct as I got older—it gets better. I think a lot of people's—writers'—powers wax. Philip Roth is a great example of that. Colette? I mean, there are people whose powers really get better and better, and I've gotten better with more experience. But do you start with the voice? I think you do. I don't know if you can teach someone a voice.Jennie NashSo when you say you've gotten better, what does that mean to you?Jennifer SeniorYeah. Um, I'm trying to think, like, do I write with more swing? Do I—just with more confidence because I'm older? Being a columnist…which is the least creative medium…Jennie NashYeah.Jennifer SeniorSeven hundred and fifty words to fit onto—I had a dedicated space in print. When David Leonhardt left, I took over the Monday spot, during COVID. So it's really, really—but what it forces you to do is to be very—your writing becomes lean, and it becomes—and structure is everything. So this does not relate to voice, but my—I was always pretty good at structure anyway. I think if you—I think movies and radio, podcasts, are, like, great for structure. Storytelling podcasts are the best thing to—I think I unconsciously emulate them. The McIlvaine story has a three-act structure. There's also—I think the podcast Heavyweight is sublime in that way.Jennie NashIs that Roxane Gay?Jennifer SeniorNo, no, no, no.Jennie NashOh, it's, um—Jennifer SeniorIt's Jonathan Goldstein.Jennie NashYes, got it. I'm going to write that down and link to that in our show notes.Jennifer SeniorIt's... I'm trying to think of—because, you know, his is, like, narratives, and it's—it's got a very unusual premise. But voice, voice, voice—well, I, you know, I worked on making my metaphors better in the beginning. I worked on noticing things, you know, and I worked on—I have the—I'm the least visual person alive. I mean, this is what's so interesting. Like, I failed to notice once that I had sat for an hour and a half with a woman who was missing an arm. I mean, I came back to the office and was talking—this is Barbara Epstein, who was a storied editor of The New York Review of Books, the story editor, along with Bob Silver. And I was talking to Mike Tomasky, who was our, like, city politic editor at the time. And I said to him, I just had this one—I knew she knew her. And he said, was it awkward? Was—you know, with her having one arm and everything? And I just stared at him and went one arm? I—I am really oblivious to stuff. And yet visual metaphors are no problem with me. Riddle me that, Batman. I don't know why that is. But I can, like, summon them in my head, and so I worked at it for a while, when my editors were responsive to it. Now they come more easily, so that seems to maybe just be a facility. I started noticing them in other people's writing. So Michael Ondaatje —in, I think it was In the Skin of a Lion, but maybe it was The English Patient. I've read, like, every book of his, like I've, you know— Running… was it Running in the Family? Running with the Family? I think it was Running in the—his memoir. And, I mean, doesn't—everything. Anil's Ghost—he— you know, that was it The Ballad of Billy the Kid? [The Collected Works of Billy the Kid] Anyway, I can go on and on. He had one metaphor talking about the evening being as serene as ink. And it was then that I realized that metaphors without effort often—and—or is that a simile? That's a simile.Jennie NashLike—or if it's “like” or “as,” it's a simile.Jennifer SeniorYeah. So I'm pretty good with similes, maybe more than metaphors. But... serene as ink. I realized that what made that work is that ink is one syllable. There is something about landing on a word with one syllable that sounds like you did not work particularly hard at it. You just look at it and keep going. And I know that I made a real effort to make my metaphors do that for a while, and I still do sometimes. Anything more than that can seem labored.Jennie NashOh, but that's so interesting. So you—you noticed in other people what worked and what you liked, and then tried to fold that into your own work.Jennifer SeniorYeah.Jennie NashSo does that mean you might noodle on—like, you have the structure of the metaphor or simile, but you might noodle on the word—Jennifer SeniorThe final word?Jennie NashThe final word.Jennifer SeniorYeah. Yeah, the actual simile, or whatever—yeah, I guess it's a simile—yeah, sometimes. Sometimes they—like I said, they come unbidden. I think I have enough experience now—which may make my voice better—to know what's crap. And I also, by the way, I'll tell you what makes your voice better: just being very willing to hit Select Alt, Delete. You know, there's more where that came from. I am a monster of self-editing. I just—I have no problem doing it. I like to do it. I like to be told when things are s**t. I think that improves your voice, because you can see it on the page.Jennie NashYeah.Jennifer SeniorAnd also, I think paying attention to other people's writing, you know, I did more and more of that, you know, reverse engineering stuff, looking at how they did stuff as I got older, so...Jennie NashSo I was going to ask a question, which now maybe you already answered, but the question was going to be… you said that you're—you feel like you're getting better as a writer as you got older. And you—you said that was due to experience. And I was going to ask, is it, or is it due to getting older? You know, is there something about literally living more years that makes you better, or, you know, like, is wisdom something that you just get, or is it something you work for? But I think what I'm hearing is you're saying you have worked to become the kind of writer who knows, you know, what you just said—you delete stuff, it comes again. But tell me if—you know, you welcome the kind of tough feedback, because you know that makes you better. You know, this sort of real effort to become better, it sounds like that's a practice you have. Is that—is that right?Jennifer SeniorOh yeah. I mean, well, let's do two things on that, please. I so easily lose my juju these days that, like, you've got to—if you can put a, you know, oh God, I'm going to use a cliché again—if you can put a pin in or bookmark that, the observation about, you know, harsh feedback. I want to come back to that. But yes, one of the things that I was going to keep—when I said that I have the confidence now, I also was going to say that I have the wisdom, but I had too many kind of competing—Jennie NashYeah. Yeah.Jennifer SeniorYou know, were running at once, and I, you know, many trains on many tracks—Jennie NashYeah, yeah.Jennifer Senior…about to leave, so…, Like, I had to sort of hop on one. But, like, the—the confidence and wisdom, yes, and also, like, I'll tell you something: in the McIlvaine piece, it may have been the first time I did, like, a narrative nonfiction. I told a story. There was a time when I would have hid behind research on that one.Jennie NashOoh, and did you tell a story. It was the—I remember reading that piece when it first came out, and there you're introducing, you know, this—the situation. And then there's a moment, and it comes very quickly at the top of the piece, where you explain your relationship to the protagonist of the story. And there's a—there's just a moment of like, oh, we're—we're really in something different here. There's really—is that feel of, this is not a reported story, this is a lived story, and that there's so many layers of power, I mean, to the story itself, but obviously the way that you—you present it, so I know exactly what you're talking about.Jennifer SeniorYeah, and by the way, I think writing in the first person, which I've been doing a lot of lately, is not something I would have done until now. Probably because I am older and I feel like I've earned it. I have more to say. I've been through more stuff. It's not, like, with the same kind of narcissism or adolescent—like, I want to get this out, you know. It's more searching, I think, and because I've seen more, and also because I've had these pent up stories that I've wanted to tell for a long time. And also I just don't think I would have had the balls, you know.Jennie NashRight.Jennifer SeniorSo some of it is—and I think that that's part of—you can write better in your own voice. If it's you writing about you, you're—there's no better authority, you know? So your voice comes out.Jennie NashRight.Jennifer SeniorBut I'm trying to think of also—I would have hid behind research and talked about theories of grief. And when I wrote, “It's the damnedest thing, the dead abandon you, and then you abandon the dead,” I had blurted that out loud when I was talking to, actually, not Bobby's brother, which is the context in which I wrote it, but to Bobby's—I said that, it's, like, right there on the tape—to his former almost fiancée. And I was thinking about that line, that I let it stand. I didn't actually then rush off and see if there was a body of literature that talked about the guilt that the living feel about letting go of their memories. But I would have done that at one point. I would have turned it into this... because I was too afraid to just let my own observations stand. But you get older and you're like, you know what? I'm smart enough to just let that be mine. Like, assume...Jennie NashRight.Jennifer SeniorIt's got to be right. But can we go back, also, before I forget?Jennie NashYeah, we're going to go back to harsh, but—but I would just want to use your cliché, put a pin in what you said, because you've said so many important things— that there's actual practice of getting better, and then there's also wisdom of—of just owning, growing into, embracing, which are two different things, both so important. So I just wanted to highlight that you've gone through those two things. So yes, let's go back to—I said harsh, and maybe I miss—can...misrepresenting what you meant.Jennifer SeniorYou may not have said that. I don't know what you said.Jennie NashNo, I did, I did.Jennifer SeniorYou did, okay, yeah, because I just know that it was processed as a harsh—oh no, totally. Like, I was going to say to you that—so there was a part of my book, my book, eventually, I just gave one chapter to each person in my life whom I thought could, like, assess it best, and one of them, so this friend—I did it on paper. He circled three paragraphs, and he wrote, and I quote, “Is this just a shitty way of saying...?” And then I was like, thank God someone caught it, if it was shitty. Oh my God. And then—and I was totally old enough to handle it, you know, I was like 44, whatever, 43. And then, who was it? Someone else—oh, I think I gave my husband the intro, and he wrote—he circled a paragraph and just wrote, “Ugh.” Okay, Select Alt, Delete, redo. You know, like, what are you going to do with that? That's so unambiguous. It's like, you know—and also, I mean, when you're younger, you argue. When you're older, you never quarrel with Ugh. Or Is this...Jennie NashRight, you're just like, okay, yep.Jennifer SeniorYeah. And again, you—you've done it enough that, you know, there's so much more where that came from.Jennie NashYeah.Jennifer SeniorWhy cling to anything that someone just, I don't know, had this totally allergic reaction to? Like, you know, if my husband broke out in a hive.Jennie NashYeah. So, circling back to the—the storyline of—you took this medication, you lost your ability to write in this way, you changed medications, presumably, you got it back. What did it feel like to get it back? Did you—do you remember that?Jennifer SeniorOh God, yes, it was glorious.Jennie NashReally?!Jennifer SeniorOh, you don't feel like yourself. I think that—I mean, I think there are many professions that are intertwined with identity. They may be the more professional—I'm sorry, the more creative professions. But not always, you know. And so if your writing voice is gone, and it's—I mean, so much of writing is an expression of your interior, if not life, then, I don't know some kind of thought process and something that you're working out. To have that drained out of you, for someone to just decant all the life out of your—or something to decant all the life out of your writing, it's—it's, I wouldn't say it's traumatic, that's totally overstating it, but it's—it's a huge bummer. It's, you know, it's depressing.Jennie NashWell, the word glorious, that's so cool. So to feel that you got back your—the you-ness of your voice was—was glorious. I mean, that's—that's amazing.Jennifer SeniorWhat—if I can just say, I wrote a feature, right, that then, like, I remember coming off of it, and then I wrote a feature that won the News Women's Club of New York story for best feature that year. Like, I didn't realize that those are kind of hard to win, and not like I won... I think I've won one since. But, like, that was in, like, 99 or something. I mean, like, you know, I don't write a whole lot of things that win stuff, until recently, you know. There was, like, a real kind of blackout period where, you know, I mean, but like—which I think, it probably didn't have to do with the quality of my writing. I mean, there was—but, I mean, you know, I wasn't writing any of the stuff that floated to the tippy top, and, like, I think that there was some kind of explosion thereof, like, all the, again, stuff that was just desperate to come out. I think there was just this volcanic outpouring.Jennie NashSo you're saying now you are winning things, which is indeed true. I mean, Pulitzer Prizes among them. Do you think that that has to do with this getting better? The wisdom, the practice, the glorious having of your abilities? Or, I guess what I'm asking is, like, is luck a part of—a part of all that? Is it just, it just happens? Or do you think there's some reason that it's happening? You feel that your writing is that powerful now?Jennifer SeniorWell, luck is definitely a part of it, because The Atlantic is the greatest place to showcase your feature writing. It gets so much attention, even though I think fewer people probably read that piece about Bobby McIlvaine than would have read any of my columns on any given day. The kind of attention was just so different. And it makes sense in a funny way, because it was 13,600 words or something. I mean, it was so long, and columns are 750 words. But, like, I think that I just lucked out in terms of the showcase. So that's definitely a part of it. And The Atlantic has the machinery to, you know, and all these dedicated, wonderful publicity people who will make it possible for people to read it, blah, blah, blah. So there's that. If you're older, you know everyone in the business, so you have people amplifying your work, they're suddenly reading it and saying, hey, everybody read it. It was before Twitter turned to garbage. Media was still a way to amplify it. It's much harder now, so passing things along through social media has become a real problem. But at that moment, it was not—Jennie NashYeah.Jennifer SeniorSo that was totally luck. Also, I wonder if it was because I was suddenly writing something from in the first person, and my voice was just better that way. And I wouldn't have had, like, the courage, you know?Jennie NashYeah.Jennifer SeniorAnd also, you're a book critic, which is what I was at The Times. And you certainly are not writing from the first person. And as a columnist, you're not either.Jennie NashYeah.Jennifer SeniorSo, you know, those are very kind of constricted forms, and they're also not—there are certainly critics who win Pulitzers. I don't think I was good enough at it. I was good, but it was not good enough. I could name off the top of my head, like, so many critics who were—who are—who haven't even won anything yet. Like Dwight Garner really deserves one. Why has he not won a Pulitzer? He's, I think, the best writer—him and Sophie Gilbert, who keeps coming close. I don't get it, like, what the hell?Jennie NashDo you—as a—as a reader of other people's work, I know you—you mentioned Michael Ondaatje that you'd studied—study him. But do you just recognize when somebody else is on their game? Like, do you recognize the voice or the gloriousness of somebody else's work? Can you just be like, yeah, that...?Jennifer SeniorWell, Philip Roth, sentence for sentence. Martin Amis, even more so—I cannot get over the originality of each of his sentences and the wide vocabulary from which he recruits his words, and, like, maybe some of that is just being English. I think they just get better, kind of more comprehensive. They read more comprehensively. And I always tell people, if they want to improve their voice, they should read the Victorians, like that [unintelligible]. His also facility with metaphor, I don't think, is without equal. The thing is, I can't stand his fiction. I just find it repellent. But his criticism is bangers and his memoirs are great, so I love them.Jennie NashYeah.Jennifer SeniorSo I really—I read him very attentively, trying to think of, like, other people whose kind of...Jennie NashI guess I was—I was getting at more... like, genius recognizes genius, that con... that concept, like, when you know you can do this and write in this way from time to time anyway, you can pull it off.Jennifer SeniorYeah, genius as in—I wouldn't—we can't go there.Jennie NashWell, that's the—that's the cliché, right? But, like...Jennifer SeniorOh no, I know, I know. Game—game, game recognizes game.Jennie NashGame recognizes game is a better way of saying it. Like, do you see—that's actually what the phrase is. I don't know where I came up with genius, but...Jennifer SeniorNo, it's fine. You can stick anything in that template, you know—evil recognizes evil, I mean, you know, it's like a...Jennie NashYeah. Do you see it? Do you see it? Like, you can see it in other people?Jennifer SeniorSure. Oh yeah, I see it.Jennie NashYeah.Jennifer SeniorI mean, you're just talking about among my contemporaries, or just as it...Jennie NashJust like anything, like when you pick up a book or you read an article or even listen to a storytelling pack podcast, that sense of being in the hands of somebody who's on it.Jennifer SeniorYeah, I think that Jonathan Goldstein—I mean, I think that the—the Heavyweight Podcast, for sure, is something—and more than that, it's—it's storytelling structure, it's just that—I think that anybody who's a master at structure would just look at that show and be like, yeah, that show nails it each and every time.Jennie NashI've not listened, but I feel like I should end our time together. I would talk to you forever about this, but I always like to leave our listeners with something specific to reflect or practice or do. And is there anything related to metaphor or practicing, finding your voice, owning your voice, that you would suggest for—for folks? You've already suggested a lot.Jennifer SeniorRead the Victorians.Jennie NashAwesome. Any particular one that you would say start with?Jennifer SeniorYeah, you know what? I find Dickens rough sledding. I like his, you know, dear friend Wilkie Collins. I think No Name is one of the greatest books ever. I would read No Name.Jennie NashAmazing. And I will add, go read Jennifer's work. We'll link to a bunch of it in the show notes. Study her and—and watch what she does and learn what she does—that there it is, a master at work, and that's what I would suggest. So thank you for joining us and having this amazing discussion.Jennifer SeniorThis has been super fun.Jennie NashAnd for our listeners, until next time, stop playing small and write like it matters.NarratorThe Hashtag AmWriting Podcast is produced by Andrew Perrella. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Do individuals or broader forces shape history? In the 2025 Reith lectures on BBC Radio 4, Rutger Bregman argues that small groups of individuals can have an outsize influence and he looks to examples in history from suffragism to the ending of slavery. In the Free Thinking studio for Radio 4's round-table discussion about the history of ideas, Matthew Sweet is joined by:Anne Applebaum, Pulitzer prize winning historian and author of Autocracy Inc, which looks at the networks linking powerful people in our world Jake Subryan Richards, New Generation Thinker on the scheme run by the BBC and AHRC which puts research on radio. His new book is The Bonds of Freedom: Liberated Africans and the End of the Slave Trade Selina Todd, historian and author of The People: The Rise and Fall of the Working Class Clare Jackson, historian of seventeenth century Britain, whose latest book is Mirror of Great Britain: A Life of James VI & I Rupert Read, philosopher, climate advocate and co author of Transformative Adaptation and The Climate Majority ProjectProducer: Eliane Glaser

Australia is about to become the first country in the world to ban kids under 16 from having social-media accounts. Other countries have attempted partial restrictions, but Australia's Online Safety Amendment is the first real ban, and it comes with heavy fines for social-media companies that fail to comply. In this episode, we hear from the woman in charge of enforcing the policy, the teens who will be affected by it starting next week, and a researcher who doesn't think Australia's plan is the right answer.  Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

On April Fools Day 1999, 26-year-old Yvonne Layne was found murdered in her Alliance, Ohio home. David Thorne, her ex-boyfriend and father of one of her children, was instantly a suspect. Another young man admitted to the murder, and David breathed a sigh of relief, until the confessed murderer fingered David; “He paid me to do it.” David was sentenced to life without parole. Two decades later, Pulitzer winner and podcast host, Maggie Freleng (Bone Valley Season 3: Graves County, Wrongful Conviction, Suave) launched a “live” investigation into David's conviction alongside Jason Baldwin (himself wrongfully convicted as a member of the West Memphis Three). Maggie had come to believe that the entire investigation of David was botched by the tiny local police department, or worse, covered up the real killer. Was Maggie correct? Was David’s claim of innocence credible? In Death & Deceit in Alliance, Maggie recounts the case that launched her career, and ultimately, “broke” her.” The results will shock the listener and reduce Maggie to tears and self-doubt. This is not your typical wrongful conviction story. In fact, it turns the genre on its head. It asks the question: What if our champions are foolish? New episodes of The Burden: Death & Deceit in Alliance are every Tuesday and Friday wherever you get your podcasts. To binge the entire season, ad-free, subscribe to True Crime Clubhouse on Apple podcasts.See omnystudio.com/listener for privacy information.

On April Fools Day 1999, 26-year-old Yvonne Layne was found murdered in her Alliance, Ohio home. David Thorne, her ex-boyfriend and father of one of her children, was instantly a suspect. Another young man admitted to the murder, and David breathed a sigh of relief, until the confessed murderer fingered David; “He paid me to do it.” David was sentenced to life without parole. Two decades later, Pulitzer winner and podcast host, Maggie Freleng (Bone Valley Season 3: Graves County, Wrongful Conviction, Suave) launched a “live” investigation into David's conviction alongside Jason Baldwin (himself wrongfully convicted as a member of the West Memphis Three). Maggie had come to believe that the entire investigation of David was botched by the tiny local police department, or worse, covered up the real killer. Was Maggie correct? Was David’s claim of innocence credible? In Death & Deceit in Alliance, Maggie recounts the case that launched her career, and ultimately, “broke” her.” The results will shock the listener and reduce Maggie to tears and self-doubt. This is not your typical wrongful conviction story. In fact, it turns the genre on its head. It asks the question: What if our champions are foolish? New episodes of The Burden: Death & Deceit in Alliance are available every Tuesday and Friday wherever you get your podcasts. To binge the entire season, ad-free, subscribe to True Crime Clubhouse on Apple podcasts.See omnystudio.com/listener for privacy information.

In Alison Roman's newest cookbook, “Something From Nothing,” her pantry is her primary inspiration. In this live conversation, we talk with Roman about her family Thanksgiving, why she makes her own baby food, and why simple really is better. We also discuss food trends, and what life is like for her as a solo creator. Then, we put the cookbook's philosophy of simplicity to the test with an onstage game in which Alison must choose three pantry ingredients from a bag and come up with a delicious dinner.  Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/Listener. Learn more about your ad choices. Visit megaphone.fm/adchoices

As Treasury Secretary, former Federal Reserve Chairwoman and Chair of the White House Council of Economic Advisers, Janet Yellen is one the most powerful woman in American economic history. Award-winning economics writer and author Jon Hilsenrath joins with insights about her life and work from his book, Yellen: The Trailblazing Economist Who Navigated an Era of Upheaval. He shares how she navigated the sexism in her industry and in politics, her unconventional partnership in marriage and work with Nobel Laureate George Akerlof and why she didn't always "lean in."More about Jon Hilsenrath: He is a senior writer for the Wall Street Journal, where he has been since 1997, reporting from Hong Kong, New York, and Washington, DC. He was a Pulitzer Prize finalist in 2014 for his coverage of the Federal Reserve; part of a team of 2009 Pulitzer finalists for coverage of the global financial crisis; and contributed on-the-scene reporting from the World Trade Center on September 11, 2001, which helped the WSJ win a Pulitzer in 2002. Hosted on Acast. See acast.com/privacy for more information.

November is a month when communities around the world commemorate the Holodomor–Stalin's genocide famine in Ukraine that, in 1933, starved millions to death, the vast majority of them Ukrainians. Conservative estimates place the death toll at 3.9 million. During the famine, a death certificate listed the cause of death simply as "Ukrainian." In the years leading up to Russia's full-scale invasion of Ukraine today, Vladimir Putin's KGB dictatorship revived the cult of mass-murdering dictator Joseph Stalin–producing propaganda textbooks, putting up Stalin statues, and outlawing acknowledgment of the fact that Stalin helped launch World War II by invading Poland two weeks after Nazi Germany, then holding joint military parades with the Nazis. Stalin monuments and billboards are today in regions of Ukraine under Russian occupation. Back in the early 1930s, as Stalin laid the groundwork for his man-made famine–a diabolically efficient way of killing millions before the invention of the atomic bomb–the New York Times praised his regime. Walter Duranty, the paper's Moscow bureau chief, won a Pulitzer for Soviet propaganda and went on to gaslight readers by insisting, "There is no famine." Challenging the media establishment, political elites, and industry leaders eager to profit from helping Stalin modernize his empire was a young Welsh journalist, Gareth Jones. Idealistic and courageous, he risked his life and career to become a vital independent witness to the genocide. His story is told in the film Mr. Jones and in the award-winning graphic novel In the Shadow of Stalin: The Story of Mr. Jones. The film was developed with support from historical advisors, including Timothy Snyder, whose classic Bloodlands: Europe Between Hitler and Stalin opens with Jones's story. To commemorate the Holodomor this year, we're sharing the audio from a video interview from September 2024 featuring In the Shadow of Stalin: The Story of Mr. Jones, which recently won a Ringo Award for Best Nonfiction and received the honor of being a Junior Library Guild Gold Standard selection. (You can find the video in the show notes). Andrea Chalupa of Gaslit Nation, the writer/producer of the Mr. Jones film and comic In the Shadow of Stalin, speaks with Anastasia Ulanowicz, an Associate Professor of English at the University of Florida who specializes in comics as a medium for personal and historical memory. If you're looking for a way to help Ukraine, consider purchasing a copy of In the Shadow of Stalin: The Story of Mr. Jones for your local school or library. Hundreds of copies have already been given to members of Congress and sold to raise funds for Razom for Ukraine–Andrea has given away so many copies that she will never see any royalties for this as those books must be paid off to the publisher to cover their costs. When you purchase a book to give away to raise awareness, you're supporting Ukraine, not the author. Any effort to help spread this story is deeply appreciated. For those who haven't seen Mr. Jones, it's available here, and Andrea's short documentary Stalin's Secret Genocide–which screened at the United Nations in 2016 and features Timothy Snyder; Anne Applebaum; Norman Naimark of Stanford, author of Stalin's Genocides; Serhii Plokhii of Harvard, author of The Gates of Europe: A History of Ukraine; and other leading historians–is available here. Thank you to everyone who continues to raise their voices for Ukraine during the country's existential fight for survival–and for the freedom of the world against Russian fascist lawlessness.   Show Notes: Buy a copy for your local school or library: In the Shadow of Stalin: The Story of Mr. Jones By Andrea Chalupa, Illustrated by Ivan Rodrigues https://www.simonandschuster.com/books/In-the-Shadow-of-Stalin-The-Story-of-Mr-Jones/Andrea-Chalupa/9781637152775   Watch the video discussion of the Mr. Jones graphic novel In the Shadow of Stalin: The Story of Mr. Jones:  https://education.holodomor.ca/new-webinar-holodomor-hot-off-the-press/   Watch Stalin's Secret Genocide: https://youtu.be/Sr5WkhEiqcY   Where to watch Mr. Jones http://www.samuelgoldwynfilms.com/mr-jones/   Music: Prayer for Ukraine: https://www.youtube.com/watch?v=zn0_p1ZR3hg&list=RDzn0_p1ZR3hg&start_radio=1

Brad Onishi sits down with Pulitzer Prize winner Paul Starr to dig into his new book, American Contradiction, and the idea that the United States is less a shining city on a hill and more a city built on a fault line. Starr traces how the nation's promise of liberty has always coexisted with exclusion, hierarchy, and inequality, and how those tensions erupted in new ways during the 1990s. Together they unpack how the end of the Cold War, the rise of culture wars, and the shockwaves of policies like NAFTA reshaped party coalitions, fueled resentment, and set the stage for today's political divide. Starr explains why the 90s were a turning point and how institutional structures like the Senate and Electoral College amplify polarization rather than contain it. The conversation also explores the growing gap between social progress and economic inequality and the challenges facing a Democratic Party trying to represent both progressive activists and working class voters. Bradley and Paul talk about the power of political storytelling, from nostalgia for an imagined past to despair over historical injustices, and how both shape the current moment. Despite everything, Starr ends with a measure of hope that the United States still has the capacity for reinvention and surprise if it can finally reckon with its contradictions and build a more inclusive national story. Subscribe for $5.99 a month to get bonus content most Mondays, bonus episodes every month, ad-free listening, access to the entire 850-episode archive, Discord access, and more: https://axismundi.supercast.com/ Linktree: https://linktr.ee/StraightWhiteJC Order Brad's book: https://bookshop.org/a/95982/9781506482163 Subscribe to Teología Sin Vergüenza Subscribe to American Exceptionalism Learn more about your ad choices. Visit megaphone.fm/adchoices

If I asked you why we communicate with others, what would your reply be? I think my mind initially went to sharing information. But as you will soon hear, my guest cites that only 15-18% of our daily communications are about mere information. What is the primary reason we communicate then? We communicate to connect with others. My interest then is considering how much of my communication actually results in true connection. I have a world expert with me. Charles Duhigg. Charles is a Pulitzer prize-winning journalist and the author of The Power of Habit, which spent over three years on bestseller lists is my favorite book on habits. In February of 2024 I had him here on the show for the first time to talk about his then new book, Supercommunicators: How to Unlock the Secret Language of Connection. The book has already sold over a million copies and I brought him back on to talk further about my own evolution in connecting, and to celebrate the release of the paperback version of Supercommunicators. Charles also writes for The New Yorker magazine and previously wrote for The New York Times and is a graduate of Yale University and Harvard Business School. You can connect with him at charlesduhigg.com. Sign up for your $1/month trial period at shopify.com/kevin Go to shipstation.com and use code KEVIN to start your free trial. Learn more about your ad choices. Visit megaphone.fm/adchoices

When the Trump administration promised a mass deportation campaign they initially relied on Immigration and Customs Enforcement.  Disappointed with ICE's pace and tactics, the White House turned to the Border Patrol for more sweeping, military-style enforcement. Commander-at-large Gregory Bovino has brought his green-uniformed agents (and his film crew) to Los Angeles, Chicago, now North Carolina, and perhaps soon New York City. Staff writer Nick Miroff on what happens when an agency trained for dangerous desert borders operates in crowded American cities. — Get more from your favorite Atlantic voices when you subscribe. You'll enjoy unlimited access to Pulitzer-winning journalism, from clear-eyed analysis and insight on breaking news to fascinating explorations of our world. Atlantic subscribers also get access to exclusive subscriber audio in Apple Podcasts. Subscribe today at TheAtlantic.com/listener. Learn more about your ad choices. Visit megaphone.fm/adchoices