Amy Schumer began her career, she says, playing a deranged, white, rich party girl. With three seasons of the television series “Inside Amy Schumer” now complete, as well as the feature film “Trainwreck,” Schumer has shifted to a more deliberate feminist agenda. David Remnick, the editor of The New Yorker, spoke with Schumer about her evolution as a comic, and how she’s reconciled a desire for laughs with a changing climate of political correctness.
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Jill Lepore, a staff writer, continues “The Search for Big Brown.” In the second installment of her story, Lepore’s childhood friend Adrianna Alty starts learning about her biological father, a black street poet whose time in Greenwich Village in the nineteen-sixties brought him Bob Dylan’s admiration. However, although some of the rumors seem to pan out, the man remains elusive.
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For many Americans, Jorge Ramos, the Univision journalist, came to prominence after Donald Trump kicked him out of a press conference in August. For Spanish speakers, however, Ramos has been one of the most recognizable and respected voices in the media for decades. William Finnegan, a New Yorker staff writer, asked Ramos about the Republican Presidential candidates’ stance on immigration, and why he engages with people who seem to hate him.
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Carolyn Kormann, a member of the magazine’s editorial staff, tries out BirdGenie, a new app that attempts to make bird identification easier. The app, which captures snippets of songs in the field and compares them to existing recordings, was co-created by Tom Stephenson, who joins Kormann for some technologically assisted birding around Prospect Park, in Brooklyn.
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Our theme music was composed and performed by Merrill Garbus of Tune-Yards. Other music within the show was written and performed by David Soler and Paul Schneider.
