With seven decades in film and television, Clint Eastwood is undeniably a Hollywood institution. Emerging first as a star in Westerns, then as the embattled cop in the Dirty Harry films, the ninety-five-year-old filmmaker has directed forty features and appeared in more than sixty. The film critic Richard Brody just reviewed a new biography of Eastwood. “What fascinated me above all are the origins of Clint Eastwood-ness—the way he had an aura that preceded him before his career in movies.” Brody joins David Remnick to pick three of the films that set Eastwood apart as an artist: “Play Misty for Me,” his 1971 directorial début; “Bird,” his bio-pic about Charlie Parker; and “Sully,” starring Tom Hanks as the heroic pilot Chesley Sullenberger.

Florida Governor Ron DeSantis has shown himself uniquely skilled at attracting attention beyond the borders of his home state.  Just this month, DeSantis blocked state funds for the Tampa Bay Rays stadium after players voiced support for gun control in the wake of the mass shooting in Uvalde, Texas.  He’s also continuing a fight to punish the Disney Corporation for criticizing Florida’s so-called Don’t Say Gay law.  An Ivy League-educated anti-élitist firebrand, he is willing to pick a fight with anyone—reporters, health officials, teachers, Mickey Mouse—to grab a headline. DeSantis “practically radiates ambition,” the staff writer Dexter Filkins tells David Remnick. “He sounds like Trump, except that he speaks in complete sentences. … He’s very good at staking out a position and pounding the table and saying, I’m not giving in to the liberals in the Northeast.” Yet despite having been anointed by Donald Trump in his primary election, DeSantis has refused to “kiss the ring,” and many see DeSantis as a possible opponent to Trump in a 2024 Republican primary.

Michael R. Jackson’s Tony and Pulitzer Prize-winning musical “A Strange Loop” features a Black queer writer named Usher, who works as an usher, struggling to write a musical about a Black queer writer. Jackson’s work tackles the terror of the blank page alongside the terrors of the dating scene, and it speaks in frank and heartbreaking terms about Usher’s attempt to navigate gay life among Black and white partners. Hilton Als talked with Jackson about how he found inspiration in his own experience seeking identity and community. “I started writing the original monologue—building a sort of life raft for myself—to understand myself,” Jackson said. “It wasn’t until I got to a place of understanding that in my life I was caught up in a loop of self-hatred, that I could see what Usher’s problem was, and therefore what the structure of the piece was that would lead him out of that and into a better place.”

“A Strange Loop” is playing now at the Lyceum Theatre, on Broadway.

Ian Frazier, who has chronicled American life for The New Yorker for more than forty years, travelled to a house in Fort Collins, Colorado, where three roommates build, fly, and race drones. Jordan Temkin, Zachry Thayer, and Travis McIntyre were among the early professional drone racers in the sport, piloting the tiny devices through complex courses at upward of eighty miles an hour. Drones have had an enormous impact on military strategy, and the commercial applications seem limitless, but to these pilots drones exist in the strange overlap between pure adrenaline and big money that defines pro sports.

This piece originally aired on February 9, 2018.

From the attempt to end birthright citizenship to the gutting of congressionally authorized agencies, the Trump Administration has created an enormous number of legal controversies. The Radio Hour asked for listeners’ questions about President Trump and the courts. To answer them, David Remnick speaks with two regular contributors: Ruth Marcus, who writes about legal issues and the Supreme Court, and Jeannie Suk Gersen, who teaches constitutional law at Harvard Law School. While the writers disagree on some significant questions—such as the Supreme Court’s recent ruling in Trump v. CASA, which struck down the use of nationwide injunctions—both acknowledge the unprecedented nature of some of the questions from listeners. “They never taught you these things in law school, because he’s pushing on areas of the law that are not normally pushed on,” Marcus tells Remnick.

Jamaica Kincaid began writing for The New Yorker in 1974, reporting about life in the magazine’s home city. She was a young immigrant from Antigua, then a British colony; she had been sent to New York—against her wishes—to work as a nanny. Soon began a love affair with New York’s literary scene. “I had to change my name,” she tells David Remnick, “because Elaine Potter Richardson could not write about Elaine Potter Richardson. But Jamaica Kincaid could write about Elaine Potter Richardson.” Kincaid went on to write books about her family; about the dissolution of a marriage; about Antigua, and what colonialism feels like to people on a small island; and later gardening, which she took up with a passion after moving to Vermont. She once said, “Everything I write is autobiographical, but none of it is true in the sense of a court of law. You know, a lie is just a lie. The truth, on the other hand, is complicated.” Kincaid’s new book, “Putting Myself Together,” is a collection of pieces that span almost half a century in print, and includes her first published piece in The New Yorker—an account of the West Indian-American Day Parade of 1974.

In Donald Trump’s first term, he was furious that people were investigating his connections to Russia—“Russia, Russia, Russia,” he complained. Now, as Trump fulfills a campaign promise of retribution, his Administration has put the Russia “hoax” back into the headlines. They claim to have opened investigations into the former F.B.I. director James Comey and the former C.I.A. director John Brennan. A career C.IA. officer, Brennan served nearly thirty years, holding senior positions under Presidents Bill Clinton, George W. Bush, and Barack Obama; his tenure included the controversial drone program, as well as the infamous Steele dossier on Trump during the 2016 election. David Remnick speaks with Brennan about why Trump officials are re-investigating old business. Are there real issues, or is this an attempt to direct the news cycle away from Jeffrey Epstein? “I've seen reports in the press that I’m under investigation,” Brennan points out. “But I’ve not heard anything from the Department of Justice, or the F.B.I., or the C.I.A., or the Office of Director of National Intelligence. No one has contacted me about anything.”

Since the end of the Cold War, most Americans have taken U.S. military supremacy for granted. We can no longer afford to do so, according to reporting by the staff writer Dexter Filkins. China has developed advanced weapons that rival or surpass America’s; and at the same time, drone warfare has fundamentally changed calculations of the battlefield. Ukraine’s ability to hold off the massive Russian Army depends largely on a startup industry that has provided millions of drones—small, highly accurate, and as cheap as five hundred dollars each—to inflict enormous casualties on invading forces. In some other conflict, could the U.S. be in the position of Russia? “The nightmare scenario” at the Pentagon, Filkins tells David Remnick, is, “we’ve got an eighteen-billion-dollar aircraft carrier steaming its way toward the western Pacific, and [an enemy could] fire drones at these things, and they’re highly, highly accurate, and they move at incredible speeds. . . . To give [Secretary of Defense Pete] Hegseth credit, and the people around him . . . they say, ‘O.K., we get it. We’re going to change the Pentagon procurement process,’ ” spending less on aircraft carriers and more on small technology like drones. But “the Pentagon is so slow, and people have been talking about these things for years. . . . Nobody has been able to do it.”

Read Dexter Filkins’s “Is the U.S. Ready for the Next War?”