On The Media
On The Media, hosted by Bob Garfield and Brooke Gladstone, is America's only national radio program devoted to media criticism and analysis, lifting the veil on how the media works.
As tensions between the press and the president-elect continue to mount, a look at why some news outlets chose to publish a salacious but unverified set of allegations about Donald Trump. Plus, how the rules of journalism may change in the Era of Trump and what journalists need to do to adjust; and writer Rebecca Solnit on finding hope in dark and uncertain places.
For weeks now, journalists have been aware of a dossier circulating among top officials and the media; it alleges among other things, that Russia has compromising (Kompromat) information on President Elect Donald Trump. But it wasn't until a chain of events set off by a presidential briefing about the contents of the dossier that the media felt free to talk about what they knew. Brooke speaks with Slate's Will Oremus about Buzzfeed's (and Slate's) decision to publish the anonymous (and unverified) Russia memos in full.
British journalist John Cantlie has been a prisoner of ISIS for more than four years. Throughout his captivity, he's been forced to act as a sort of warped foreign correspondent, extolling the virtues of the group in propaganda videos. With every appearance, he looks weaker and gaunter. In this special hour, we consider how Cantlie's plight is a window into the challenges of reporting on Syria, and why the world's tangled policy on hostages means that some live to tell the tale, and others don't.
It's been four hundred years since the death of William Shakespeare, and the Bard is as popular as ever... and just as mysterious. For centuries, a war has raged over the question: who is Shakespeare? We explore how the answer has evolved through the ages, and what that tells us about our changing perceptions of class, art, genius, and religion. Plus, a look at Shakespeare's enduring global relevance, with an inspiring and perilous performance of Love's Labor's Lost in Afghanistan.
The Man in the High Castle, the Emmy Award winning TV series, imagines a world in which the Nazi’s won WWII. Set in the 1960s, the show blends actual pop cultural imagery and artifacts with fictional interpretations of an alternative ending to the war.
When its first season debuted, the show’s ad campaign in New York City subways hit a little too close to home. And the show’s second season, which dropped last week, is resonating in a similar way, although this time not so intentionally, just as white nationalists gain exposure in the lead-up to the Trump presidency. “But if it would be hyperbole to treat the series like a documentary, it would be denial to say it plays no differently now than it did before,” says James Poniewozik the chief television critic for The New York Times. He joined Studio 360 host Kurt Andersen in the studio to talk about his most recent article on the series which points to the parallels between fiction and reality.
None of us know what Donald Trump will do once he becomes President Trump. What we do know is what he has said he wants to do and what powers he will have, should he choose to act. That's why activists are urging President Obama to do all that he can in the weeks he has left to leave the presidency nicer than he found it and to place some limits on the abilities of a potentially reckless new ruler.
Brooke and Bob talk to advocates and experts who have compiled a "must-do" list for Obama's final month in office, ranging from surveillance oversight to digital preservation to clemency to climate action. Then, we hear from the White House itself about what the administration actually plans to do with the limited time.
Finally, a discussion with writer James Gleick about the nature of time and how our understanding of it has evolved over time.